Focus on Craft and Structure Elements of Drama Drama is storytelling brought to life through performance. Drama  is a story that is written as a script and intended for performance by actors. Like other narratives, a drama portrays characters caught up in conflict. The struggles that characters face in a drama spark a sequence of events, called the plot, which eventually reaches a climax, the point of highest intensity in the action. The resolution, or settling of the conflict, allows the story to wind down and leads to the drama’s conclusion. Character and conflict work together in a drama, or play, to engage readers or viewers. As events unfold, characters react and change, revealing their personalities and motives. In performance, the various elements of drama combine to produce the illusion of reality known as dramatic effect. Through this effect, the author, or playwright, explores a theme—an insight or a message about life. The example in the next column explains how elements in a play create dramatic effect.

Example: Dramatic Effect In The Tragedy of Romeo and Juliet, two lovers cannot marry because their families are sworn enemies. The play retains its dramatic effect, even centuries after it was first performed, because its key ideas are timeless. The characters of two people in love, the conflict of circumstances that keep the lovers apart, and themes about the power, difficulties, and danger of love, are concepts that still have relevance in the modern world. A playwright divides a script into basic units called acts. Within acts, there may be further divisions known as scenes. Scenes often serve to shift the action’s setting or time or to introduce new characters. Characters’ speech is called dialogue, and notes in the script on how the play should be performed are called stage directions. The chart below further defines and explains these basic elements of drama.

The Elements of Drama Acts and Scenes

Acts and scenes are the basic divisions of drama. Dramas may contain a varying number of acts, each of which may contain a number of scenes.

Stage Directions

Stage directions are notes that tell how a play should be performed or staged. They may appear in italics or be set off by brackets or parentheses. Stage directions may include the following information: • Background about the setting or characters • Instructions that tell how actors should move and speak • Abbreviations such as O.S. (offstage), D.S. (downstage, or closer to the audience), and U.S. (upstage, or farther from the audience) • Details about scenery, lighting, and costumes

Sets

Sets define the area in which the play’s action occurs. They include the physical elements placed on the stage. A set may be realistic and look like an actual place, or it may be more abstract.

Props

A prop is a movable object, such as a book, a pen, or a flashlight. Props add realism to the action in a play.

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Dramatic Forms The ancient Greeks, who developed drama as an organized literary form, created two basic types of plays. These broad categories still define drama today.

Tragedy A tragedy traces the downfall of the main character, or protagonist, who is often called the tragic hero. •  In classic drama, the tragic hero is an important person, such as a general or a king. •  The hero is admirable but is defeated by a tragic flaw, a mistake or character defect.

Comedy A comedy has a happy ending for the protagonist. •  Comedies often feature events in which the world’s order or balance is disrupted. •  The ending restores order and may reward the hero. Comedies are often funny, but they can make a serious point. The main distinction between tragedy and comedy is how the story ends: Tragedies end in death, defeat, or exile; comedies end in weddings or other joyful events.

Dramatic Structures  Classic dramas, such as most ancient Greek and Shakespearean works, take place in five acts and thus are called five-act plays. The acts typically follow this plot structure: Act 1 : introduction/exposition; Act 2: rising action; Act 3: climax; Act 4: falling action; Act 5: resolution.

In most dramatic works, the five segments of plot are compressed into fewer acts. Many screenplays, teleplays, and operas are framed in three acts. Act 1 introduces main characters and sets the conflict in motion. Act 2 escalates the conflict and increases tension for the protagonist. Act 3 takes the conflict to a climax and reveals the outcome in a resolution. Shorter dramatic works may consist of only a single act. One-act plays may be divided into several scenes.

Dramatic Dialogue  In most dramatic works, dialogue is the playwright’s main tool. Many ancient Greek plays also employ the convention of the chorus, a group of actors onstage who observe the action but do not participate in it. The members of the chorus would most often sing their lines, but sometimes their lines were spoken aloud in unison instead. The chorus provides background information and reacts to events. Some modern plays feature a chorus. In other modern dramas, a narrator may replace the chorus. In certain films, for example, the voice of an unseen narrator may introduce the story, set up a scene, or tell viewers about a character. Playwrights may use other types of dramatic speeches to advance plot and reveal character. • A monologue is a long speech that one character delivers to other characters onstage. • A soliloquy is a speech in which a character, alone on stage, “thinks aloud,” revealing private thoughts. • An aside is a remark that a character makes to the audience but that other characters do not hear.

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Analyzing Complex Characters The ways in which complex characters react to conflict help develop the theme in a dramatic work. Characters in Conflict

Characterization and Motivation  Through

In both tragedies and comedies, characters face conflict, a struggle between opposing forces. There are two main types of conflict:

the use of characterization—the dialogue and actions that reveal a character’s personality—a playwright provides clues about the human qualities of a character as well as clues about the character’s motivation, or reasons for behaving a certain way. It is up to the reader or audience to infer what these clues mean.

• External Conflict:  An external conflict is a struggle against an outside force, such as nature, another character, or the pressures of society. For example, a character who faces pressure from bullies at school experiences an external conflict. • Internal Conflict:  An internal conflict is a struggle within the mind of a character. For example, a character who struggles with his desire to support his family while following his dream to become an actor experiences an internal conflict. The most interesting dramatic works feature conflicts that engage the audience. For tragic characters, the conflict may be life threatening. For comedic characters, the threat may be perceived. For example, a character in a romantic comedy may think that a coworker is trying to win over the woman he loves, when in reality, the coworker is not interested in the woman.

Protagonist and Antagonist  Most plays and movies focus on a single main character— the protagonist. The character who opposes the main character and either creates or intensifies the conflict is called the antagonist.

Clues

Motivation

A young, thin boy eyes a loaf of bread; then he steals it.

The child is hungry.

A policeman detains the child; then he lets him go.

The policeman feels sorry for the child.

Complex Characters  Great dramas present interesting protagonists and antagonists. Such characters are referred to as complex, which means they have strengths and weaknesses and experience mixed emotions. Complex characters have multiple motivations, or a variety of reasons for behaving as they do. In literary terms, complex characters are round, rather than flat, and dynamic, rather than static. Flat or static characters often represent stereotypes and do not change or develop over the course of a play. The arch-villain and the selfless best friend are two examples of flat or static characters.

Complex Characters

Limited Characters

• Round:  multidimensional; possess more than one motivation; display many qualities, including strengths and weaknesses • Dynamic:  undergo change during the course

• Flat:  one-dimensional; have only one motivation; display only one quality or trait • Static:  remain the same throughout the play;

of play; grow in terms of improvement or self-realization

resist or are unable to adjust to changing circumstances

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Complex Characters and Theme

Reading Drama

In the most compelling dramas, complex characters change or grow as the result of their responses to internal or external conflicts. In portraying such journeys of transformation, a playwright tries to bring insight to aspects of the human condition—and ultimately reveals a message about life that audiences can understand and appreciate. That message is the theme.

Actors speak the words in a script and breathe life into them. When you read a drama, make the play come alive by using textual clues to understand characters’ motivations, feelings, actions, and thoughts. As you read, picture details of the performance.

Character Development  In any work of literature, a writer uses the tools of character development, or characterization, to create characters and reveal their personality traits. In direct characterization, a writer directly states a character’s traits. A playwright might use stage directions, a chorus, a narrator, or another character to convey information that tells what a character is like.

Example: Direct Characterization RAFAEL. Yo! Mauricio! Where you going, man? Get back here! [turns to face audience] I hate to say it, but you just can’t trust Mauricio. He is the most unreliable man you will ever meet. Whenever you need him, he just disappears. In indirect characterization, a writer shows what a character is like in any of these ways: • Descriptions of a character’s physical appearance; • The character’s own words; • The character’s actions and behavior; • Other characters’ reactions to the character. An actor brings a character to life on the stage or in a movie by using his or her voice, facial expressions, and gestures, as well as the pitch, pacing, and phrasing of his or her speech. Actors work under the guidance of the director, the interpreter and manager of the creative aspects of a dramatic or film production. Costumes, sets, and props also help emphasize elements of a character’s personality.

To read a play effectively, look at dialogue, stage directions, punctuation, and word choice. In these elements, you will find clues about a character’s emotions, relationships, social class, education, and environment.

Example: Characterization in Drama Stage Directions Suggesting Attitude: [Yuki lifts her cup and sips loudly, eyes glaring.] Punctuation Showing Emotion: STANLEY. I don’t buy your act. Not for one minute! Dialogue Suggesting Social/Economic Class: JASON. I have a social engagement this afternoon. I don’t have time to deal with this. Where’s my butler? [Calls out] Edward, get in here! Word Choice Revealing Traits or Qualities: MANUELITO. Lucy is a ridiculous creature. She’s insufferable!

Dramatic Speeches  Through monologues, soliloquies, and asides, playwrights provide critical clues to characters’ motivations and actions. These dramatic speeches help propel the plot because they explain why characters do what they do. In addition, these speeches may express ideas that are key to the play’s theme. For example, in a monologue or soliloquy, a character can explain what he or she thinks and feels. The audience learns about the character’s conflicts and even his or her secrets. Analyzing all the details a playwright provides through a complex character’s words and actions will lead you to fully appreciate a drama and understand its deeper meaning.

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Extended Study

Preparing to Read The Tragedy of Julius Caesar William Shakespeare wrote masterpieces of drama and poetry during an extraordinary era in English history.

Historical Background: Elizabethan England A Golden Age  Queen Elizabeth I came to the throne following a tumultuous period in English history. During the reign of her father, King Henry VIII, thousands of people had been executed. Warfare had been frequent, and the royal treasury was drained. The brief reigns of Elizabeth’s half-brother Edward and half-sister Mary were equally stormy. Elizabeth, by contrast, proved to be a strong and successful ruler, frugal with money and popular with her people. Her long reign (1558–1603) is often seen as a golden age in English history. The relative stability that Elizabeth created allowed commerce and culture to thrive.

The Renaissance  Elizabeth ruled toward the end of a flowering of European learning known as the Renaissance (ren« ß sans»). The Renaissance began in Florence and other Italian city-states around 1350, and then spread throughout Europe. The word “renaissance” means “rebirth,” and the era saw renewed interest in the arts and sciences that hearkened back to ancient Greece and Rome. The cultural pursuit of art and learning had diminished in Western Europe after the fall of the Roman Empire. Influenced by the achievements of the ancients, Renaissance writers and architects created new forms and designs that emphasized individual human expression. Painters and sculptors studied ancient Greek and Roman art to explore a new focus on the human form. Philosophers and religious reformers challenged old ideas, as did scientists who strove to unlock the hidden secrets of the natural world. With new knowledge of the skies, navigators sailed the globe, expanding trade and exploring distant lands.

▲ Elizabeth I was crowned at the age of 25. This painting by Italian artist Federico Zuccaro is one of hundreds of portraits made of the queen during her reign.

Sixteenth-Century English Monarchs

King Henry VIII ruled from 1509 to 1547

King Edward VI ruled from 1547 to 1553

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Queen Mary ruled from 1553 to 1558

Queen Elizabeth I ruled from 1558 to 1603

The Great Chain of Being In Shakespeare Alive, Joseph Papp, founder of the New York Shakespeare Festival, and his co-author Elizabeth Kirkland explain how Shakespeare and his audience viewed nature and society: In the heavenly kingdom . . . several levels of archangels and angels spread downwards from God’s throne, and each level knew its place. . . . The universe was a hierarchy too, and each planet and star was assigned to a specific position… The animal world was another very stratified society in which each species had its king: the eagle

was the king of birds; the whale was the king of fish; and the lion, of course, was king of beasts. The Great Chain of Being, stretching from the lowliest creature in the natural world all the way up to God, connected these worlds to each other, and the hierarchy of one was mirrored in the others. . . . Since all living things were linked by the Great Chain of Being, violations of order in society were thought to set off violent disturbances in the heavens or the world of nature. . . .In Julius Caesar [Act I, Scene iii], strange and terrible goings-on are reported in Rome as the conspirators hatch an assassination plot against the emperor. . .

The English Renaissance  Elizabeth I encouraged commercial enterprise and the efforts of English navigators, such as Sir Walter Raleigh, who tried to establish a colony in Virginia, and Sir Francis Drake, who sailed around the globe. Profiting particularly from the wool trade, a strong merchant class developed in England, narrowing the gap between rich and poor. London, with nearly 200,000 people, became Europe’s largest city. It was a bustling if dirty cultural and political capital that attracted newcomers from overseas as well as from the English countryside. In 1588, the English army defeated the Spanish Armada, a fleet of warships sent by King Philip II of Spain to invade England. The victory contributed to Elizabeth’s legend as well as to the country’s sense of national pride. It also set England firmly on the path to becoming ruler of the seas. Elizabeth’s reign was not only remarkable for its commercial and military successes. Indeed, her court was a center for musicians and artists, both Continental and native born. The philosopher Sir Francis Bacon, who pioneered the informal essay as a literary form, became an unofficial member of the queen’s group of advisers. Sir Philip Sidney, a popular courtier and diplomat, wrote a series of love sonnets that were much imitated. The poet Edmund Spenser wrote an adventure-packed epic called The Faerie Queene that he dedicated to Queen Elizabeth. The greatest Elizabethan literature, however, was written for the stage. The greatest of these voices were the playwrights Christopher Marlowe, Ben Jonson, and—greatest of them all—William Shakespeare.

A sonnet, from the Italian for “little song,” is a fourteen-line poem originally developed in Italy. Sidney’s sonnets ushered in a sonnet-writing craze: Edmund Spenser, William Shakespeare, and just about every other Elizabethan poet produced a sonnet sequence, or series.

The Concern for Stability  Elizabeth’s father, King Henry VIII, had married six times. He divorced three of his wives and executed two others, including Elizabeth’s mother, Anne Boleyn. Queen Mary, Elizabeth’s half-sister, infuriated the nation by wedding Phillip II of Spain, who abandoned her soon afterward. Perhaps because of these examples, or perhaps because she worried about sharing power, Elizabeth I never married. By the late 1590s, when Shakespeare wrote The Tragedy of Julius Caesar, she was quite advanced in years, and many were concerned about the nation’s stability after her death. That concern is echoed in several of Shakespeare’s plays, including Julius Caesar.

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Theater in Elizabethan England London theaters drew crowds that are large even by today’s standards. During the Elizabethan era, the religious plays of the Middle Ages gave way to English tragedies and comedies modeled on those of ancient Greece and Rome. Scholars at Oxford and Cambridge universities studied and translated the ancient plays into English. The first great Elizabethan playwrights attended those universities, which is why they are sometimes called the University Wits. The most prominent of the Wits, Christopher Marlowe, pioneered the use of blank verse in drama. (For more on blank verse, see p. 568.) For a time, Elizabethan acting companies still traveled the countryside as their medieval counterparts had done. They performed at festivals, inns, and castles. Gradually, however, the better acting companies acquired noble patrons, or sponsors, and began staging private performances in their patrons’ homes. They also gave performances at court, where elaborate masques— productions featuring singing and dancing—were especially popular.

From the Theatre to the Globe  England’s first public theater opened in 1576. Known simply as the Theatre, it was built by the actor James Burbage, whose company would later attract the young William Shakespeare. Since the performance of plays was banned in London proper, Burbage built the Theatre just outside the city walls. When its lease expired, Richard Burbage, who took charge of the company after his father’s death, decided to move operations to Southwark (suth« ßrk), just south across the River Thames (temz) from London. He built a new theater, called the Globe, which opened in 1599. Shakespeare’s first play to be performed there was probably The Tragedy of Julius Caesar.

Theater Structure  England’s first theaters were two- to three-story structures with a central space open to the sky. The open space was surrounded by enclosed seating in two or three tiers, or galleries, that faced inward. On the ground floor, a stage projected into an area called the pit. Audience members called groundlings paid a small fee to stand in the pit and watch the play. Wealthier audience members, including aristocrats, occupied the more expensive sheltered gallery seats. Since artificial light was not used, performances generally took place in the afternoon. Audiences were boisterous, cheering and booing loudly. Most theaters could hold up to 3,000 people and drew the largest crowds on holidays.

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▲ This image from the late sixteenth century shows the Globe theater as the audience arrives for a performance.

Extended Study I The Tragedy of Julius Caesar Theater Stagecraft  The portion of the building behind the stage was used to mount the production. This area included dressing rooms, storage rooms, and waiting areas from which actors could enter and exit the stage. The second-level gallery directly above the stage served as a performance space. There was no scenery; instead, settings were communicated through dialogue. Special effects were very simple—smoke might accompany a battle scene, for example. Actors playing members of the nobility or royalty wore elegant clothes. These were not really costumes as we think of them today, but simply the same types of clothing worn by high-ranking Elizabethans. Since acting was not considered proper for women, female roles were played by boys of about eleven or twelve, before their voices changed. Given the constraints of the era’s stagecraft, the productions were unrealistic by modern standards. However, they were also fast-paced, colorful, and highly entertaining. The Blackfriars  In 1609, Shakespeare’s company, the King’s Men, began staging plays at an indoor theater called the Blackfriars. They still used the Globe during the summer months. The Blackfriars was one of the first English theaters to include artificial lighting, which enabled nighttime performances. Designed to appeal to wealthy patrons only, the Blackfriars did not have inexpensive seats or a space set aside for groundlings. Indoor theaters of this sort, attracting a fashionable crowd, would become the norm in centuries to come.

The upper stage could be used for particular scenes, or to stage a scene with actors on two levels. It was also the seating area for musicians, an important part of many productions. Several of Shakespeare’s plays, particularly the comedies, contain songs.

▼ Shakespeare’s Globe, a reconstruction of the original theater, was completed in 1997 near the site of the original building. The modern convenience of artificial lighting allows for nighttime performances, such as the one shown in the photo.

PART 2  •  Extended Study: The Tragedy of Julius Caesar  539

Meet the Author

William Shakespeare

(1564–1616)

Unlike other famed writers of his time, William Shakespeare was neither a lofty aristocrat nor a university scholar. Nevertheless, he is widely regarded as the greatest writer in the English language. “What’s Past Is Prologue”  Shakespeare was born in Stratford-upon-Avon, a market town on the Avon River about seventy-five miles northwest of London. His father, John, was a successful glove maker who served for a time as town mayor. His mother, born Mary Arden, was the daughter of a wealthy farmer who owned the land on which John Shakespeare’s father lived. Although the records have been lost, it is believed that Shakespeare attended the Stratford Grammar School, where he would have studied logic, history, Latin grammar, some Greek, and works by the Roman poets Ovid, Horace, and Virgil and Roman playwrights Plautus and Terence. When he left school, he would thus have had a solid foundation in classical literature.

“All the World’s a Stage”  In 1582, when he was eighteen, Shakespeare married a woman named Anne Hathaway, who was twenty-six. The couple had a daughter, Susanna, in 1583 and twins, Judith and Hamnet, two years later. No one knows what Shakespeare did for the next several years, but in the early 1590s his name began to appear in the world of the London theater. Working first as an actor, Shakespeare soon began writing plays. By 1594, he was part owner and principal playwright of the Lord Chamberlain’s Men, the acting company run by the Burbages. As the leading actor in most of Shakespeare’s plays, Richard Burbage was also becoming famous. Soon he decided to move the company to the new theater district in Southwark. There, Burbage oversaw the construction of the Globe theater, which was larger than the company’s old home in London. With bigger audiences, profits increased for Burbage, Shakespeare, and all the other co-owners. The Lord Chamberlain’s Men was named for its sponsors, first Henry Carey, Lord Hunsdon, and then his son George. Both men served in the high government post of Lord Chamberlain. After Queen Elizabeth I died in 1603, her successor, James I, became the company’s patron. In his honor, the company changed its name to the King’s Men.

“Parting Is Such Sweet Sorrow”   In 1609, the King’s Men began to perform year-round, using the Globe theater in summer and the Blackfriars during the colder months. Profits increased even more, and about a year later Shakespeare was able to retire. He returned to his childhood home of Stratford, where he bought the second-largest house in town, invested in land, and continued to write. Shakespeare died in 1616, leaving the bulk of his estate to his elder daughter, Susanna, and a smaller sum to Judith. (Hamnet had died in 1596.)

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Extended Study I The Tragedy of Julius Caesar

Shakespeare’s Influence Nearly four hundred years after his death, William Shakespeare remains the most influential writer in the English language. His characters are known by name around the world. Filmmakers, painters, novelists, and composers reuse his plots, and phrases he coined still slip into daily conversation. You have probably quoted Shakespeare without even knowing it. Here are just a few examples of expressions made famous in his plays. All the world’s a stage. (As You Like It) Brave new world (The Tempest) Brevity is the soul of wit. (Hamlet) Come full circle (King Lear) Dish fit for the gods (Julius Caesar) A foregone conclusion (Othello) It was Greek to me. (Julius Caesar) Lend me your ears. (Julius Caesar) Loved not wisely, but too well (Othello) More sinned against than sinning (King Lear) Neither a borrower nor a lender be. (Hamlet) Parting is such sweet sorrow. (Romeo and Juliet) Strange bedfellows (The Tempest) Throw cold water on it. (The Merry Wives of Windsor) Too much of a good thing (As You Like It) What’s past is prologue. (The Tempest)

The Authorship Question Because the documentary evidence of Shakespeare’s life is slim and his roots fairly humble, some have questioned whether he really wrote the plays with which he is credited. Shakespeare scholars believe that the surviving texts of the plays were edited and that a few late plays even had co-authors, but nearly all dismiss the notion that Shakespeare did not write them. Nevertheless, the theories persist. Several suggest that Will Shakespeare, actor and Burbage business partner, served as a front for some

high-born person (the Earl of Oxford, the Countess of Pembroke, and so on). Some theories center around philosopher and essayist Sir Francis Bacon as the true author—ignoring the fact that Bacon’s writing style is completely different from Shakespeare’s. The most interesting theories surround the playwright Christopher Marlowe, who was killed in a tavern brawl in 1593. According to these theories, Marlowe used Shakespeare as a front after faking his own death to escape retribution for blasphemous writings or his career as a government spy.

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Background for the Play

A Noble Roman W

illiam Shakespeare may be the most famous person ever to write in England, but Julius Caesar, Roman general and statesman, was one of the first ever to write about it. In his account of his military exploits in Gaul (modern-day France and Belgium), Caesar describes the island of Britain and its inhabitants. Caesar invaded the island twice, in 55 and 54 B.C., but he did not remain there long. About a century later, however, the Romans returned to make the area of Britain that we now call England an outpost of their empire. The land remained in Roman hands until about A.D. 400, when the empire was collapsing and Roman troops were called home to defend their capital. As part of English history, Julius Caesar and ancient Rome were of particular interest to English writers and audiences.

Rome in Caesar’s Day  Since about 509 B.C., Rome had been a republic, a society ruled by a democratically elected government. Two public officials called consuls shared governing authority with the Senate and the Assemblies. Members of the Senate were high-born Romans called patricians, while members of the Assemblies were low-born Romans called plebeians (plè bè« ßnz). By the era of Julius Caesar (100–44 B.C.), Rome controlled a great empire through military expansion. However, the popularity of military leaders

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Extended Study I The Tragedy of Julius Caesar

threatened the balance of power, and civil war became common. When a general named Pompey tried to make himself sole consul, another popular general, Julius Caesar, defeated him. As Shakespeare’s play opens, all of Rome wonders whether Caesar will appoint himself emperor, thus ending the republic.

Plutarch, Shakespeare’s Source  Shakespeare’s source for The Tragedy of Julius Caesar was The Lives of the Noble Grecians and Romans, Sir Thomas North’s 1579 English translation of a book by the Greek philosopher Plutarch (plØ» tärk«). Written late in the first century, Plutarch’s Lives included literary sketches of Julius Caesar, Marcus Brutus, and Marcus Antonius (Mark Antony), who had lived just over a century earlier. Plutarch researched his information carefully, although he focused less on historical facts than on the personalities of his subjects. Shakespeare based his plot on the events Plutarch describes, but he condensed the timeline and added dramatic elements. For example, Plutarch writes that Antonius gave a funeral oration that stirred the common people to compassion and rage; Shakespeare did not know what Mark Antony actually said, but he gives us the speech as he imagined it.

From the name Caesar come the German word kaiser and the Russian word czar, both meaning “emperor.” From Julius Caesar’s first name comes July, our word for the month named in Julius Caesar’s honor.

The Play Through the Centuries Often cited as Shakespeare’s first great tragedy, The Tragedy of Julius Caesar has been drawing crowds ever since its premiere at the Globe Theatre in 1599. In 1916, to commemorate the three-hundredth anniversary of Shakespeare’s death, a famous outdoor production was staged in the Hollywood hills, starring Douglas Fairbanks, Sr., and Tyrone Power. Students from area high schools reenacted the battle scenes. Just before World War II, Orson Welles produced a controversial adaptation that likened Caesar to Italian dictator Benito Mussolini. In 2005, a production starring Denzel Washington was mounted on Broadway. Ironically, this play about assassination is also one of the few in which Abraham Lincoln’s assassin, John Wilkes Booth, performed. In an 1864 production, Booth played the role of Mark Antony.

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Building Knowledge To what extent does experience determine what we perceive? Explore the Big Question as you read The Tragedy of Julius Caesar, Act I. Take notes on how both the nobility and the common people perceive Caesar.

CLOSE READING FOCUS Key Ideas and Details: Use Text Aids Because they were written in the sixteenth and seventeenth centuries, Shakespeare’s plays contain unfamiliar language and references. When reading Shakespearean drama, use text aids. • Review the list of dramatis personae (the cast of characters). • Read the background information provided (pp. 536–543). • As you read the play, consult the notes, called glosses, beside the text. These notes define words and explain references.

Craft and Structure: Shakespeare’s Tragedies Shakespeare’s tragedies are dramatic works that portray a reversal of fortune, from good to bad, experienced by a noble character. Shakespeare’s tragedies also have these distinctive features: • They are sometimes based on historical figures. • The main character displays a tragic flaw, a quality that contributes to his or her downfall. • The drama emphasizes the tragic hero’s internal conflict. In an external conflict, a character struggles against an outside force, such as another character, fate, nature, or society. In an internal conflict, a character battles with his or her opposing emotions. • Commoners often provide comic relief in humorous scenes that serve as a break from the intense emotions of the play. Shakespeare’s plays are structured in five acts. In his tragedies, the crisis—the turning point that determines how the play will end—occurs in Act III. The climax, or point of greatest emotional intensity, often occurs in Act V, when the catastrophe, or disaster, befalls the hero.

Vocabulary You will encounter the following words in this selection. Which are adjectives? Explain how you know. replication infirmity

servile portentous

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spare prodigious

The Tragedy of Julius Caesar, Act I Act I

CLOSE READING MODEL The passage below is from The Tragedy of Julius Caesar, Act I. The annotations to the right of the passage show ways in which you can use close reading strategies and text aids to analyze Shakespearean tragedy.

William Shakespeare

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LIT15_SE10_U4P2_S1.indd Page 546 3/4/13 8:54 AM user

from The Tragedy of Julius Caesar, Act I CH A RA CTER S MARCUS BRUTUS

Conspirators Against Julius

CASSIUS

Caesar

Casca1

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Use Text Aids 1  The list of characters identifies Brutus, Cassius, and Casca as being among the conspirators against Julius Caesar, Rome’s famous leader. This information will help you understand that the dialogue the three men share is secretive and that their tone is sinister.

Casca. … I saw Mark Antony offer him a crown— yet ’twas not a crown neither, ’twas one of these

Shakespeare’s Tragedies

coronets—and, as I told you, he put it by once; but

2  Casca notes that Julius Caesar was tempted by Marc Antony’s offer of a crown, yet he refused to accept it. This hints at an internal conflict Caesar may be experiencing—a desire for power and a reluctance to assume that power.

for all that, to my thinking, he would fain have had it.2 Then he offered it to him again; then he put it by again; but to my thinking, he was very loath to lay his fingers off it. And then he offered it the third time. He put it the third time by; and still as he refused it, the rabblement hooted, and clapped their chopt hands, and threw up their sweaty nightcaps, and uttered such a deal of stinking breath because Caesar refused the crown,3 that it had, almost, choked Caesar; for he swounded and fell down at it. And for mine own part, I durst not laugh, for fear of opening my lips and receiving the bad air. Cassius. But, soft, I pray you; what, did Caesar swound? Casca. He fell down in the market place, and foamed at mouth, and was speechless.

Shakespeare’s Tragedies 3  In Shakespeare’s plays, common people often appear as supporting characters. In this scene Casca, one of the noble conspirators, reveals his distaste for the commoners, describing them as “rabblement” (rabble) that have “chopt (chapped) hands,” “sweaty nightcaps,” and “stinking breath.” Despite Casca’s disdain for the common people, their adoration of Caesar and his affection for them is part of the play’s central conflict.

Brutus. ’Tis very like he hath the falling-sickness.

PART 2  •  Building Knowledge: The Tragedy of Julius Caesar, Act I  545

William Shakespeare

546  UNIT 4  •  To what extent does experience determine what we perceive?

Characters Julius Caesar

Cinna

Octavius Caesar Marcus Antonius M. Aemilius Lepidus

Lucilius Titinius

Cicero Publius

Poets

Another Poet

Triumvirs* After the Death of Julius Caesar

Friends to Brutus and Cassius

Messala Young Cato

Senators

Popilius Lena

Volumnius

Marcus Brutus

Varro

Cassius

Clitus

Casca

Claudius

Conspirators Against Julius Caesar

Trebonius Ligarius Decius Brutus

Servants to Brutus

Strato Lucius Dardanius

Metellus Cimber

Pindarus

Servant to Cassius

Cinna

Calpurnia

Wife of Caesar

Flavius Marullus

Portia

Wife of Brutus Soothsayer

Tribunes

Artemidorus Of Cnidos

Teacher of Rhetoric

Senators, Citizens, Guards, Attendants, And So On

Scene: During most of the play, at Rome; afterward near Sardis, and near Philippi. *Triumvirs (trì um» virz) n. in ancient Rome, a group of three leaders who shared power equally.

Act I Scene i. Rome. A street. [Enter Flavius, Marullus, and certain Commoners1 over the stage.]

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Flavius. Hence! Home, you idle creatures, get you home! Is this a holiday? What, know you not, Being mechanical,2 you ought not walk Upon a laboring day without the sign Of your profession?3 Speak, what trade art thou?



Carpenter. Why, sir, a carpenter.



Marullus. Where is thy leather apron and thy rule? What dost thou with thy best apparel on? You, sir, what trade are you?



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Cobbler. Truly, sir, in respect of a fine workman,4 I am but, as you would say, a cobbler.5

1. commoners (kam« ßn ßrz)  n.  people not of the nobility or upper classes. 2. mechanical o  f the working class. 3. sign/Of your profession work clothes and tools. 4. in respect of a fine workman  in relation to a skilled worker. 5. cobbler (a pun)  “mender of shoes” or “a clumsy, bungling worker.”

Comprehension What fact about the commoners attracts Flavius’ attention?

PART 2  •  The Tragedy of Julius Caesar, Act I, Scene i  547

6. knave (nàv) n. tricky rascal; rogue. 7. be not out . . . if you be out  be not angry . . . if you have worn-out shoes. 8. mend you (a pun)  “mend your shoes” or “improve your disposition.”

Use Text Aids Explain how glosses 7 and 8 help you to understand Marullus’ reaction in lines 19–20.

9. awl (ôl) n.  small, pointed tool for making holes in leather. 10. withal (wiª ôl») adv.  nevertheless (also a pun on “with awl”). 11. neat’s leather  leather made from the hides of cattle. 12. triumph (trì « ßmf) n.  procession celebrating the return of a victorious general. 13. tributaries (trib« yØ ter« èz) n. captives. 14. Pompey (päm« pè )  a Roman general and triumvir defeated by Caesar in 48 b.c. and later murdered. 15. Tiber (tì « bßr)  river that flows through Rome. 16. concave shores   hollowed-out banks; overhanging banks. 17. cull out  pick out; select.

Vocabulary ▶ replication (rep« li kà» §ßn) n. duplicate; reproduction Critical Viewing ▶ Judging from this Roman painting, how might the characters be dressed? Explain.



Marullus. But what trade art thou? Answer me directly.



Cobbler. A trade, sir, that, I hope, I may use with a safe conscience, which is indeed, sir, a mender of bad soles.

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Flavius. What trade, thou knave?6 Thou naughty knave, what trade?



Cobbler. Nay, I beseech you, sir, be not out with me: yet, if you be out,7 sir, I can mend you.8

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Marullus. What mean’st thou by that? Mend me, thou saucy  fellow?



Cobbler. Why, sir, cobble you.



Flavius. Thou art a cobbler, art thou?



Cobbler. Truly, sir, all that I live by is with the awl:9 I meddle with no tradesman’s matters, nor women’s matters; but withal,10 I am indeed, sir, a surgeon to old shoes: when they are in great danger, I recover them. As proper men as ever trod upon neat’s leather11 have gone upon my handiwork.

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Flavius. But wherefore art not in thy shop today? Why dost thou lead these men about the streets?



Cobbler. Truly, sir, to wear out their shoes, to get myself into more work. But indeed, sir, we make holiday to see Caesar and to rejoice in his triumph.12



Marullus. Wherefore rejoice? What conquest brings he home? What tributaries13 follow him to Rome, To grace in captive bonds his chariot wheels? You blocks, you stones, you worse than senseless things! O you hard hearts, you cruel men of Rome, Knew you not Pompey?14 Many a time and oft Have you climbed up to walls and battlements, To tow’rs and windows, yea, to chimney tops, Your infants in your arms, and there have sat The livelong day, with patient expectation, To see great Pompey pass the streets of Rome. And when you saw his chariot but appear, Have you not made an universal shout, That Tiber15 trembled underneath her banks To hear the replication of your sounds Made in her concave shores?16 And do you now put on your best attire? And do you now cull out17 a holiday?

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548  UNIT 4  •  To what extent does experience determine what we perceive?

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And do you now strew flowers in his way That comes in triumph over Pompey’s blood?18 Be gone! Run to your houses, fall upon your knees, Pray to the gods to intermit the plague19 That needs must light on this ingratitude. Flavius. Go, go, good countrymen, and, for this fault, Assemble all the poor men of your sort; Draw them to Tiber banks and weep your tears Into the channel, till the lowest stream Do kiss the most exalted shores of all.20 [All the commoners exit.]

18. Pompey’s blood   Pompey’s sons, whom Caesar has just defeated. 19. intermit the plague (plàg)  stop the calamity or trouble. 20. the most exalted shores of all  the highest banks.

Comprehension What does Marullus think about the people celebrating in the streets?

PART 2  •  The Tragedy of Julius Caesar, Act I, Scene i  549

21. whe’r their basest mettle  whether the most inferior material of which they are made. 22. Disrobe the images . . . decked with ceremonies  strip the statues . . . covered with decorations. 23. feast of Lupercal (lØ«  pßr kal)  ancient Roman festival celebrated on February 15. 24. vulgar (vul« gßr) n.  common people. 25. pitch  upward flight of a hawk.

Vocabulary ▶ servile (s†r» vßl) adj. slavelike; humbly submissive to authority

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See, whe’r their basest mettle21 be not moved, They vanish tongue-tied in their guiltiness. Go you down that way toward the Capitol; This way will I. Disrobe the images, If you do find them decked with ceremonies.22



Marullus. May we do so? You know it is the feast of Lupercal.23

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Flavius. It is no matter; let no images Be hung with Caesar’s trophies. I’ll about And drive away the vulgar24 from the streets; So do you too, where you perceive them thick. These growing feathers plucked from Caesar’s wing Will make him fly an ordinary pitch,25 Who else would soar above the view of men And keep us all in servile fearfulness.

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[Exit]

▼ Critical Viewing

What do the actors’ poses in this movie still imply about the relationship between Caesar (left) and Antony (middle)?

550  UNIT 4  •  To what extent does experience determine what we perceive?

Scene ii. A public place. [Enter Caesar, Antony (for the course),1 Calpurnia, Portia, Decius, Cicero, Brutus, Cassius, Casca, a Soothsayer; after them, Marullus and Flavius.]

Caesar. Calpurnia!



Casca.



Caesar. Calpurnia!



Calpurnia. Here, my lord.



Caesar. Stand you directly in Antonius’ way When he doth run his course. Antonius!

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Antony. Caesar, my lord?



Caesar. Forget not in your speed, Antonius, To touch Calpurnia; for our elders say The barren, touchèd in this holy chase, Shake off their sterile curse.2

Peace, ho! Caesar speaks.

1. for the course  ready for the foot race that was part of the Lupercal festivities.

Use Text Aids What information about the relationship between Caesar and Calpurnia do you find in the “Characters” list, on page 547? Shakespeare’s Tragedies What is Caesar’s rank? 2. barren . . . sterile curse  It was believed that women who were unable to bear children (such as Calpurnia), if touched by a runner during this race, would then be able to bear children.

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Antony. I shall remember: When Caesar says “Do this,” it is performed.



Caesar. Set on, and leave no ceremony out.



Soothsayer. Caesar!



Caesar. Ha! Who calls?



Casca. Bid every noise be still; peace yet again!

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Caesar. Who is it in the press3 that calls on me? I hear a tongue, shriller than all the music, Cry “Caesar.” Speak; Caesar is turned to hear.

3. press  n. crowd.



Soothsayer. Beware the ides of March.4



Caesar.

4. ides of March  in the ancient Roman calendar, March 15.



Brutus. A soothsayer bids you beware the ides of March.

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Caesar. Set him before me; let me see his face.



Cassius. Fellow, come from the throng; look upon Caesar.



Caesar. What say’st thou to me now? Speak once again.



Soothsayer. Beware the ides of March.



Caesar. He is a dreamer, let us leave him. Pass.



What man is that?

[A trumpet sounds. Exit all but Brutus and Cassius.]

Comprehension How does Caesar respond to the sooth­ sayer’s warning?

PART 2  •  The Tragedy of Julius Caesar, Act I, Scene ii  551

5. order of the course  the race.

6. gamesome (gàm« sßm)  adj.  having a liking for sports. 7. quick spirit  lively disposition.

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Cassius. Will you go see the order of the course?5



Brutus. Not I.



Cassius. I pray you do.



Brutus. I am not gamesome:6 I do lack some part Of that quick spirit7 that is in Antony. Let me not hinder, Cassius, your desires; I’ll leave you.

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8. wont (wònt) adj.  accustomed. 9. bear . . . hand  treat too harshly and too like a stranger.

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10. if I . . . upon myself  if I have been less open, it is because I am troubled with myself. 11. passions  n. feelings; emotions. 12. of some difference  in conflict. 13. Conceptions . . . myself  thoughts that concern only me. 14. soil  n. blemish.

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15. By means . . . buried because of which I have kept to myself. 16. cogitations (käj ß tà«  §ßnz) n. thoughts.

17. ’Tis just  it is true. 18. lamented (lß men« tßd) v.  regretted.

19. turn . . . shadow  reflect your hidden noble qualities so you could see their image. 20. the best respect  the best reputation. 21. this age’s yoke  the tyranny of Caesar.

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Cassius. Brutus, I do observe you now of late; I have not from your eyes that gentleness And show of love as I was wont8 to have; You bear too stubborn and too strange a hand9 Over your friend that loves you. Brutus. Cassius, Be not deceived: if I have veiled my look, I turn the trouble of my countenance Merely upon myself.10 Vexèd I am Of late with passions11 of some difference,12 Conceptions only proper to myself,13 Which give some soil,14 perhaps, to my behaviors; But let not therefore my good friends be grieved (Among which number, Cassius, be you one) Nor construe any further my neglect Than that poor Brutus, with himself at war, Forgets the shows of love to other men. Cassius. Then, Brutus, I have much mistook your passion; By means whereof this breast of mine hath buried15 Thoughts of great value, worthy cogitations.16 Tell me, good Brutus, can you see your face?



Brutus. No, Cassius; for the eye sees not itself But by reflection, by some other things.



Cassius. ’Tis just.17 And it is very much lamented,18 Brutus, That you have no such mirrors as will turn Your hidden worthiness into your eye, That you might see your shadow.19 I have heard Where many of the best respect20 in Rome (Except immortal Caesar), speaking of Brutus, And groaning underneath this age’s yoke,21 Have wished that noble Brutus had his eyes.

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552  UNIT 4  •  To what extent does experience determine what we perceive?



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Brutus. Into what dangers would you lead me, Cassius, That you would have me seek into myself For that which is not in me? Cassius. Therefore, good Brutus, be prepared to hear; And since you know you cannot see yourself So well as by reflection, I, your glass Will modestly discover to yourself That of yourself which you yet know not of.22 And be not jealous on23 me, gentle Brutus: Were I a common laughter,24 or did use To stale with ordinary oaths my love To every new protester;25 if you know That I do fawn on men and hug them hard, And after scandal26 them; or if you know That I profess myself in banqueting To all the rout,27 then hold me dangerous. [Flourish of trumpets and shout]

22. your glass . . . know not of  your mirror will make known to you without exaggeration the qualities you have of which you are unaware. 23. be not jealous on  do not be suspicious of. 24. common laughter  object of ridicule. 25. To stale . . . new protester  to cheapen my friendship by avowing it to anyone who promises to be my friend. 26. scandal  v. slander; gossip about. 27. profess myself . . . rout   declare my friendship to the common crowd.

Comprehension According to Cassius, what does Brutus not realize about himself?

◀ Critical Viewing

What does the expression of this actor in the role of Cassius convey about Cassius’ intelligence? Explain.

PART 2  •  The Tragedy of Julius Caesar, Act I, Scene ii  553

Shakespeare’s Tragedies What internal conflict in Brutus do lines 79–82 reveal?

28. aught . . . good  anything to do with the public welfare. 29. indifferently (in dif» ßr ßnt lè) adv. without preference; impartially. 30. speed  v.  give good fortune to. 31. favor  n. face; appearance.

32. as lief not be  just as soon not exist. 33. such a thing as I myself   another human being (Caesar). 34. chafing with  raging against.



Brutus. What means this shouting? I do fear the people Choose Caesar for their king.

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Cassius. Ay, do you fear it? Then must I think you would not have it so.



Brutus. I would not, Cassius, yet I love him well. But wherefore do you hold me here so long? What is it that you would impart to me? If it be aught toward the general good,28 Set honor in one eye and death i’ th’ other, And I will look on both indifferently;29 For let the gods so speed30 me, as I love The name of honor more than I fear death.

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Cassius. I know that virtue to be in you, Brutus, As well as I do know your outward favor.31 Well, honor is the subject of my story. I cannot tell what you and other men Think of this life, but for my single self, I had as lief not be,32 as live to be In awe of such a thing as I myself.33 I was born free as Caesar; so were you: We both have fed as well, and we can both Endure the winter’s cold as well as he: For once, upon a raw and gusty day, The troubled Tiber chafing with34 her shores,

LITERATURE IN CONTEXT History Connection Roman Society Brutus and Cassius fear that the common people will support Caesar in his bid to become emperor. Their fear reflects tensions in Roman society of the time. • Poor plebeians (commoners), including farmers who could no longer compete with wealthy landowners, flooded Rome. • They created a restless mass of unemployed poor. • Some leaders took their side and won power with their support. • Other leaders took the side of the patricians (aristocrats) and the wealthy plebeians. • The conflict between rich and poor led to civil unrest, including riots and assassinations.

Connect to the Literature Which scenes in Act I best reflect the division in Roman society? Explain.

554  UNIT 4  •  To what extent does experience determine what we perceive?

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Caesar said to me “Darest thou, Cassius, now Leap in with me into this angry flood, And swim to yonder point?” Upon the word, Accout’red35 as I was, I plungèd in And bade him follow: so indeed he did. The torrent roared, and we did buffet36 it With lusty sinews,37 throwing it aside And stemming it with hearts of controversy.38 But ere we could arrive the point proposed, Caesar cried “Help me, Cassius, or I sink!” I, as Aeneas,39 our great ancestor, Did from the flames of Troy upon his shoulder The old Anchises bear, so from the waves of Tiber Did I the tired Caesar. And this man Is now become a god, and Cassius is A wretched creature, and must bend his body If Caesar carelessly but nod on him. He had a fever when he was in Spain, And when the fit was on him, I did mark How he did shake: ’tis true, this god did shake. His coward lips did from their color fly,40 And that same eye whose bend41 doth awe the world did lose his42 luster: I did hear him groan; Ay, and that tongue of his, that bade the Romans Mark him and write his speeches in their books, Alas, it cried, “Give me some drink, Titinius,” As a sick girl. Ye gods! It doth amaze me, A man of such a feeble temper43 should So get the start of44 the majestic world, And bear the palm45 alone.  [Shout. Flourish of trumpets]



Brutus. Another general shout? I do believe that these applauses are For some new honors that are heaped on Caesar.

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Cassius. Why, man, he doth bestride the narrow world Like a Colossus,46 and we petty men Walk under his huge legs and peep about To find ourselves dishonorable47 graves. Men at some time are masters of their fates: The fault, dear Brutus, is not in our stars,48 But in ourselves, that we are underlings.49 Brutus and Caesar: what should be in that “Caesar”? Why should that name be sounded50 more than yours? Write them together, yours is as fair a name;

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35. Accout’red (ß kØ« trßd)  v.  dressed in armor. 36. buffet (buf« it) v. struggle against. 37. lusty sinews (sin« yØz)  strong muscles. 38. stemming it . . . controversy  making progress against it with our intense rivalry. 39. Aeneas (i nè« ßs)  Trojan hero of the poet Virgil’s epic poem Aeneid, who carried his old father, Anchises, from the burning city of Troy and later founded Rome.

40. His coward lips . . . fly   color fled from his lips, which were like cowardly soldiers fleeing from a battle. 41. bend  n. glance. 42. his  pron. its. 43. feeble temper  weak physical constitution. 44. get the start of   outdistance. 45. palm  n.  leaf of a palm tree carried or worn as a symbol of victory; victor’s prize. 46. Colossus (kß läs» ßs) n.  gigantic ancient statue of Apollo, a Greek and Roman god, that was set at the entrance to the harbor of Rhodes; ships would sail under its legs. 47. dishonorable (dis än« ßr ß bßl) adj. shameful (because they will not be free men). 48. stars  n.  destinies. The stars were thought to control people’s lives. 49. underlings  n. inferior people. 50. sounded  v.  spoken or announced by trumpets.

Comprehension What has Cassius done to help Caesar in the past?

PART 2  •  The Tragedy of Julius Caesar, Act I, Scene ii  555

51. conjure (kän« jßr) v.  summon a spirit by a magic spell. 52. start  v. raise. 53. great flood  in Greek mythology, a flood that drowned everyone except Deucalion and his wife Pyrrha, who were saved by the god Zeus because of their virtue. 54. But it was famed with  without the age being made famous by. 55. Brutus  Lucius Junius Brutus had helped expel the last king of Rome and had helped found the republic in 509 b.c. 56. brooked  v.  put up with.

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Use Text Aids How do the Background feature on page 542 and note 55 help you understand Cassius’ appeal to Brutus?

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57. nothing jealous  not at all doubting. 58. work me to  persuade me of. 59. aim  n. idea. 60. meet  adj.  fit; suitable. 61. chew upon  think about.

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Sound them, it doth become the mouth as well; Weigh them, it is as heavy; conjure51 with ’em, “Brutus” will start52 a spirit as soon as “Caesar.” Now, in the names of all the gods at once, Upon what meat doth this our Caesar feed, That he is grown so great? Age, thou art shamed! Rome, thou hast lost the breed of noble bloods! When went there by an age, since the great flood,53 But it was famed with54 more than with one man? When could they say (till now) that talked of Rome, That her wide walks encompassed but one man? Now is it Rome indeed, and room enough, When there is in it but one only man. O, you and I have heard our fathers say, There was a Brutus55 once that would have brooked56 Th’ eternal devil to keep his state in Rome As easily as a king. Brutus. That you do love me, I am nothing jealous;57 What you would work me to,58 I have some aim;59 How I have thought of this, and of these times, I shall recount hereafter. For this present, I would not so (with love I might entreat you) Be any further moved. What you have said I will consider; what you have to say I will with patience hear, and find a time Both meet60 to hear and answer such high things. Till then, my noble friend, chew upon61 this: Brutus had rather be a villager Than to repute himself a son of Rome Under these hard conditions as this time Is like to lay upon us.

Shakespeare’s Tragedies What tragic flaw in Brutus’ character might lines 172–175 reveal?

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62. train  n. attendants.

[Enter Caesar and his Train.]62

Brutus. The games are done, and Caesar is returning.



Cassius. As they pass by, pluck Casca by the sleeve, And he will (after his sour fashion) tell you What hath proceeded worthy note today.

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63. chidden train  scolded attendants.

Cassius. I am glad That my weak words have struck but thus much show Of fire from Brutus.

Brutus. I will do so. But look you, Cassius, The angry spot doth glow on Caesar’s brow, And all the rest look like a chidden train:63

556  UNIT 4  •  To what extent does experience determine what we perceive?

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Calpurnia’s cheek is pale, and Cicero Looks with such ferret64 and such fiery eyes As we have seen him in the Capitol, Being crossed in conference65 by some senators.



Cassius. Casca will tell us what the matter is.

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Caesar. Antonius.



Antony. Caesar?



Caesar. Let me have men about me that are fat, Sleek-headed men, and such as sleep a-nights. Yond Cassius has a lean and hungry look; He thinks too much: such men are dangerous.

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Antony. Fear him not, Caesar, he’s not dangerous; He is a noble Roman, and well given.66 Caesar. Would he were fatter! But I fear him not. Yet if my name were liable to fear, I do not know the man I should avoid So soon as that spare Cassius. He reads much, He is a great observer, and he looks quite through the deeds of men.67 He loves no plays, As thou dost, Antony; he hears no music; Seldom he smiles, and smiles in such a sort68 As if he mocked himself, and scorned his spirit That could be moved to smile at anything. Such men as he be never at heart’s ease Whiles they behold a greater than themselves, And therefore are they very dangerous. I rather tell thee what is to be feared Than what I fear; for always I am Caesar. Come on my right hand, for this ear is deaf, And tell me truly what thou think’st of him.

64. ferret (fer« it) adj. ferretlike; characteristic of a ferret, a small weasel-like animal. 65. crossed in conference   opposed in debate.

66. well given  well disposed. 67. looks . . . deeds of men  sees through people’s actions to their motives.

◀ Vocabulary spare (sper) adj. lean;

thin 68. sort  way.

[A trumpet sounds. Caesar and his Train exit.] 215

Casca. You pulled me by the cloak; would you speak with me?



Brutus. Ay, Casca; tell us what hath chanced69 today, That Caesar looks so sad.



Casca. Why, you were with him, were you not?



Brutus. I should not then ask Casca what had chanced.

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Casca. Why, there was a crown offered him; and being offered him, he put it by70 with the back of his hand, thus; and then the people fell a-shouting.

69. hath chanced  has happened. 70. put it by  pushed it away.

Comprehension Why does Cassius compare Brutus and Caesar?

PART 2  •  The Tragedy of Julius Caesar, Act I, Scene ii  557

Use Text Aids According to the Literature in Context feature on page 554, why might the common people support Caesar? 71. marry  interjection  truly.



Brutus. What was the second noise for?



Casca. Why, for that too.

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Cassius. They shouted thrice; what was the last cry for?



Casca. Why, for that too.



Brutus. Was the crown offered him thrice?



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Casca. Ay, marry,71 was’t, and he put it by thrice, every time gentler than other; and at every putting-by mine honest neighbors shouted.



Cassius. Who offered him the crown?



Casca. Why, Antony.



Brutus. Tell us the manner of it, gentle Casca.



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Casca. I can as well be hanged as tell the manner of it: it was mere foolery; I did not mark it. I saw Mark Antony offer him a crown—yet ’twas not a crown neither, ’twas one of these coronets72—and, as I told you, he put it by once; but for all that, to my thinking, he would fain73 have had it. Then he offered it to him again; then he put it by again; but to my thinking, he was very loath to lay his fingers off it. And then he offered it the third time. He put it the third time by; and still74 as he refused it, the rabblement75 hooted, and clapped their chopt76 hands, and threw up their sweaty nightcaps,77 and uttered such a deal of stinking breath because Caesar refused the crown, that it had, almost, choked Caesar; for he swounded78 and fell down at it. And for mine own part, I durst not laugh, for fear of opening my lips and receiving the bad air.



Cassius. But, soft,79 I pray you; what, did Caesar swound?



Casca. He fell down in the market place, and foamed at mouth, and was speechless.



Brutus. ’Tis very like he hath the falling-sickness.80

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Cassius. No, Caesar hath it not; but you, and I, And honest Casca, we have the falling-sickness.81



Casca. I know not what you mean by that, but I am sure Caesar fell down. If the tag-rag people82 did not clap him and hiss him, according as he pleased and displeased them, as they use83 to do the players in the theater, I am no true man.

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72. coronets (kôr« ß nets») n.  ornamental bands used as crowns. 73. fain (fàn) adv. gladly. 240

74. still  adv.  every time. 75. rabblement (rab» ßl mßnt)  n. mob. 76. chopt (£äpt) adj.  chapped. 77. nightcaps  n. workers’ caps. 78. swounded  v. swooned; fainted.

79. soft  adv. slowly.

80. falling-sickness  n.  epilepsy. 81. we have the fallingsickness  We are losing power and falling in status under Caesar’s rule. 82. tag-rag people  the rabble; lower-class people. 83. use  v.  are accustomed.

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558  UNIT 4  •  To what extent does experience determine what we perceive?



Brutus. What said he when he came unto himself?



Casca. Marry, before he fell down, when he perceived the common herd was glad he refused the crown, he plucked me ope his doublet84 and offered them his throat to cut. An I had been a man of any occupation,85 if I would not have taken him at a word, I would I might go to hell among the rogues. And so he fell. When he came to himself again, he said, if he had done or said anything amiss, he desired their worships to think it was his infirmity.86 Three or four wenches,87 where I stood, cried “Alas, good soul!” and forgave him with all their hearts; but there’s no heed to be taken of them; if Caesar had stabbed their mothers, they would have done no less.

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Brutus. And after that, he came thus sad away?



Casca. Ay.



Cassius. Did Cicero say anything?



Casca. Ay, he spoke Greek.



Cassius. To what effect?

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Casca. Nay, an I tell you that, I’ll ne’er look you i’ th’ face again. But those that understood him smiled at one another and shook their heads; but for mine own part, it was Greek to me. I could tell you more news too: Marullus and Flavius, for pulling scarfs off Caesar’s images, are put to silence.88 Fare you well. There was more foolery yet, if I could remember it.

285



Cassius. Will you sup with me tonight, Casca?



Casca. No, I am promised forth.89

290

Cassius. Will you dine with me tomorrow?



Casca. Ay, if I be alive, and your mind hold,90 and your dinner worth the eating.



Cassius. Good; I will expect you.



Casca. Do so. Farewell, both.

295

Brutus. What a blunt91 fellow is this grown to be! He was quick mettle92 when he went to school.



Cassius. So is he now in execution93 Of any bold or noble enterprise, However he puts on this tardy form.94

[Exit]

84. doublet (dub» lit) n.  close-fitting jacket. 85. An I . . . occupation  if I had been a workingman (or a man of action). 86. infirmity  n. Caesar’s illness is epilepsy. 87. wenches (wen£» ßz)  n.  young women.

◀ Vocabulary infirmity (in f†r» mß tè) 

n.  weakness; physical defect

88. for pulling . . . silence  For taking decorations off statues of Caesar, they have been silenced (by being forbidden to take part in public affairs, exiled, or perhaps even executed). 89. am promised forth  have a previous engagement. 90. hold  v.  does not change. 91. blunt  adj.  dull; not sharp. 92. quick mettle  of a lively disposition. 93. execution  n. carrying out; doing. 94. tardy form  sluggish appearance.

Comprehension How does Caesar respond when he is offered the crown?

PART 2  •  The Tragedy of Julius Caesar, Act I, Scene ii  559

95. wit  n. intelligence. 96. disgest  v. digest. 97. the world  present state of affairs. 98. wrought . . . is disposed  shaped (like iron) in a way different from its usual form.

300



305



▼ Critical Viewing

How does this idyllic scene of Rome contrast with the events taking place in the play?

This rudeness is a sauce to his good wit,95 Which gives men stomach to disgest96 his words With better appetite. Brutus. And so it is. For this time I will leave you. Tomorrow, if you please to speak with me, I will come home to you; or if you will, Come home to me, and I will wait for you. Cassius. I will do so. Till then, think of the world.97 [Exit Brutus.]



310

Well, Brutus, thou art noble; yet I see Thy honorable mettle may be wrought From that it is disposed;98 therefore it is meet That noble minds keep ever with their likes; For who so firm that cannot be seduced?

560  UNIT 4  •  To what extent does experience determine what we perceive?

315

320

Caesar doth bear me hard,99 but he loves Brutus. If I were Brutus now, and he were Cassius, He should not humor me.100 I will this night, In several hands,101 in at his windows throw, As if they came from several citizens, Writings, all tending to the great opinion102 That Rome holds of his name; wherein obscurely Caesar’s ambition shall be glancèd at.103 And after this, let Caesar seat him sure;104 For we will shake him, or worse days endure.

99. bear me hard  dislike me. 100. humor me  win me over. 101. several hands  different handwritings. 102. tending to the great opinion  pointing out the great respect. 103. glancèd at  hinted at. 104. seat him sure  establish himself securely.

[Exit]

Scene iii. A street. [Thunder and lightning. Enter from opposite sides, Casca and Cicero.]

Cicero. Good even, Casca; brought you Caesar home? Why are you breathless? And why stare you so?



Casca. Are not you moved, when all the sway of earth1 Shakes like a thing unfirm? O Cicero, I have seen tempests, when the scolding winds Have rived2 the knotty oaks, and I have seen Th’ ambitious ocean swell and rage and foam, To be exalted with3 the threat’ning clouds; But never till tonight, never till now, Did I go through a tempest dropping fire. Either there is a civil strife in heaven, Or else the world, too saucy4 with the gods, Incenses5 them to send destruction.

5

10



Cicero. Why, saw you anything more wonderful?

15

Casca. A common slave—you know him well by sight— Held up his left hand, which did flame and burn Like twenty torches joined, and yet his hand, Not sensible of6 fire, remained unscorched. Besides—I ha’ not since put up my sword— Against7 the Capitol I met a lion, Who glazed8 upon me and went surly by Without annoying me. And there were drawn Upon a heap9 a hundred ghastly10 women, Transformèd with their fear, who swore they saw Men, all in fire, walk up and down the streets. And yesterday the bird of night11 did sit Even at noonday upon the market place, Hooting and shrieking. When these prodigies12 Do so conjointly meet,13 let not men say, “These are their reasons, they are natural,”

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1. all the sway of earth  the stable order of Earth. 2. Have rived  have split. 3. exalted with  lifted up to. 4. saucy  adj. rude; impudent. 5. Incenses  v. enrages.

Use Text Aids According to the information on page 537, why would Shakespeare’s audience have connected these unnatural events with the political situation in the play? 6. sensible of  sensitive to. 7. Against  prep. opposite or near. 8. glazed  v. stared. 9. were drawn . . . heap   huddled together. 10. ghastly (gast» lè) adj.  ghostlike; pale. 11. bird of night  owl. 12. prodigies (präd» ß jèz)  n. extraordinary happenings. 13. conjointly meet  occur at the same time and place.

Comprehension After his conversation with Brutus, what does Cassius say he will do?

PART 2  •  The Tragedy of Julius Caesar, Act I, Scene iii  561

Vocabulary ▶ portentous (pôr ten» tßs) adj. ominous; giving signs of evil to come 14. portentous (pôr ten» tßs)  . . . upon  bad omens for the country they point to. 15. strange-disposèd   abnormal. 16. construe . . . fashion   explain in their own way. 17. Clean from the purpose  different from the real meaning.

For I believe they are portentous things Unto the climate that they point upon.14

35

Cicero. Indeed, it is a strange-disposèd15 time: But men may construe things after their fashion,16 Clean from the purpose17 of the things themselves. Comes Caesar to the Capitol tomorrow?



Casca. He doth; for he did bid Antonius Send word to you he would be there tomorrow.



Cicero. Good night then, Casca; this disturbèd sky Is not to walk in.

40

Casca.

Farewell, Cicero.

[Exit Cicero.]

[Enter Cassius.]

Cassius. Who’s there?



Casca.



Cassius.



Casca. Your ear is good. Cassius, what night is this?



Cassius. A very pleasing night to honest men.



Casca. Who ever knew the heavens menace so?

45

cassius. Those that have known the earth so full of faults. For my part, I have walked about the streets, Submitting me unto the perilous night, And thus unbracèd,18 Casca, as you see, Have bared my bosom to the thunder-stone;19 And when the cross20 blue lightning seemed to open The breast of heaven, I did present myself Even in the aim and very flash of it.

50

18. unbracèd  adj.  with jacket open. 19. thunder-stone  n.  thunderbolt. 20. cross  adj. zigzag. 21. part  n. role. 22. by tokens . . . to astonish  by portentous signs send such awful announcements to frighten and stun. 23. want  v. lack. 24. put on . . . in wonder   show fear and are amazed. 25. from quality and kind   acting contrary to their nature. 26. calculate  v. make predictions.



55



60

65

A Roman. Casca, by your voice.

Casca. But wherefore did you so much tempt the heavens? It is the part21 of men to fear and tremble When the most mighty gods by tokens send Such dreadful heralds to astonish22 us. Cassius. You are dull, Casca, and those sparks of life That should be in a Roman you do want,23 Or else you use not. You look pale, and gaze, And put on fear, and cast yourself in wonder,24 To see the strange impatience of the heavens; But if you would consider the true cause Why all these fires, why all these gliding ghosts, Why birds and beasts from quality and kind,25 Why old men, fools, and children calculate,26

562  UNIT 4  •  To what extent does experience determine what we perceive?

70

75

Why all these things change from their ordinance,27 Their natures and preformèd faculties, To monstrous quality,28 why, you shall find That heaven hath infused them with these spirits29 To make them instruments of fear and warning Unto some monstrous state.30 Now could I, Casca, name to thee a man Most like this dreadful night, That thunders, lightens, opens graves, and roars As doth the lion in the Capitol; A man no mightier than thyself, or me, In personal action, yet prodigious grown And fearful,31 as these strange eruptions are.



Casca. ’Tis Caesar that you mean, is it not, Cassius?

80

Cassius. Let it be who it is; for Romans now Have thews32 and limbs like to their ancestors; But, woe the while!33 Our fathers’ minds are dead, And we are governed with our mothers’ spirits; Our yoke and sufferance34 show us womanish.

85

Casca. Indeed, they say the senators tomorrow Mean to establish Caesar as a king; And he shall wear his crown by sea and land, In every place save here in Italy.



Cassius. I know where I will wear this dagger then; Cassius from bondage will deliver35 Cassius. Therein,36 ye gods, you make the weak most strong; Therein, ye gods, you tyrants do defeat. Nor stony tower, nor walls of beaten brass, Nor airless dungeon, nor strong links of iron, Can be retentive to37 the strength of spirit; But life, being weary of these worldly bars, Never lacks power to dismiss itself. If I know this, know all the world besides, That part of tyranny that I do bear I can shake off at pleasure. [Thunder still]

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105

Casca. So can I; So every bondman in his own hand bears The power to cancel his captivity. Cassius. And why should Caesar be a tyrant then? Poor man, I know he would not be a wolf But that he sees the Romans are but sheep; He were no lion, were not Romans hinds.38

27. ordinance (ôrd» ’n ßns)  n.  regular behavior. 28. preformèd . . . quality   established function to unnatural behavior. 29. infused . . . spirits  filled them with supernatural powers. 30. monstrous state   abnormal condition of government.

◀ Vocabulary prodigious (prò dij» ßs) 

adj.  of great size or power 31. fearful  adj.  causing fear. 32. thews (ªyØz) n. muscles or sinews; strength. 33. woe the while  alas for the times. 34. yoke and sufferance   slavery and meek acceptance of it. 35. will deliver  will set free. 36. Therein (ªer in» ) adv. in that way (that is, by giving the weak the power to end their own lives).

Shakespeare’s Tragedies What main conflict has Shakespeare established in Act I?

37. be retentive to  confine. 38. hinds (hìndz) n. female deer; peasants; servants.

Comprehension What connection does Cassius make between the night’s strange events and Caesar’s rise to power?

PART 2  •  The Tragedy of Julius Caesar, Act I, Scene iii  563

39. offal (ôf» ßl) n. refuse; waste. 40. base matter  inferior or low material; foundation materials. 41. speak this . . . answer must be made  say this before a willing servant of Caesar’s; then I know I will have to answer for my words. 42. fleering tell-tale  sneering tattletale. 43. factious (fak« §ßs) adj.  active in forming a faction or a political party. 44. redress (ri dres«) of all these griefs  setting right all these grievances. 45. undergo (un« dßr gò»)  v. undertake. 46. consequence (kän» sß kwens«) n. importance. 47. by this  by this time. 48. Pompey’s porch  portico of Pompey’s Theater. 49. complexion of the element  condition of the sky; weather. 50. In favor’s like  in appearance is like.

110

115

Those that with haste will make a mighty fire Begin it with weak straws. What trash is Rome, What rubbish and what offal,39 when it serves For the base matter40 to illuminate So vile a thing as Caesar! But, O grief, Where hast thou led me? I, perhaps, speak this Before a willing bondman; then I know My answer must be made.41 But I am armed, And dangers are to me indifferent.



Casca. You speak to Casca, and to such a man That is no fleering tell-tale.42 Hold, my hand. Be factious43 for redress of all these griefs,44 And I will set this foot of mine as far As who goes farthest. [They clasp hands.]

120

Cassius. There’s a bargain made. Now know you, Casca, I have moved already Some certain of the noblest-minded Romans To undergo45 with me an enterprise Of honorable dangerous consequence;46 And I do know, by this47 they stay for me In Pompey’s porch;48 for now, this fearful night, There is no stir or walking in the streets, And the complexion of the element49 In favor’s like50 the work we have in hand, Most bloody, fiery, and most terrible.

125

130

[Enter Cinna.] 51. close  adv. hidden. 52. gait (gàt) n.  style of walking. 53. incorporate (in kôr» pß rit) / To our attempts  part of our efforts. 54. stayed for  waited for. 55. on’t (ônt) contraction of on it. 56. praetor’s (prè« tßrz) chair  Roman magistrate’s (or judge’s) chair.

Use Text Aids Why might you need to consult glosses 56 and 57 to understand Cassius’ plan?



Casca. Stand close51 awhile, for here comes one in haste.



Cassius. ’Tis Cinna; I do know him by his gait;52 He is a friend. Cinna, where haste you so?



Cinna. To find out you. Who’s that? Metellus Cimber?

135

Cassius. No, it is Casca, one incorporate To our attempts.53 Am I not stayed for,54 Cinna?



Cinna. I am glad on’t.55 What a fearful night is this! There’s two or three of us have seen strange sights.



Cassius. Am I not stayed for? Tell me.



Cinna. Yes, you are. O Cassius, if you could But win the noble Brutus to our party—

140



Cassius. Be you content. Good Cinna, take this paper, And look you lay it in the praetor’s chair,56

564  UNIT 4  •  To what extent does experience determine what we perceive?

▲ Critical Viewing

Which details in this relief sculpture indicate the respect and awe with which Romans regarded their leaders? PART 2  •  The Tragedy of Julius Caesar, Act I, Scene iii  565

57. Where . . . find it  where only Brutus (as the chief magistrate) will find it. 58. old Brutus’ Junius Brutus, the founder of the Roman Republic. 59. Repair  v. go. 60. hie (hì) v. hurry.

145

150



155

61. offense (ß fens») n.  crime. 62. countenance (k™n» tß nßns) n. support. 63. alchemy (al» kß mè) n. an early form of chemistry in which the goal was to change metals of little value into gold. 64. conceited (kßn sèt» id)  v. understood.



160

Where Brutus may but find it;57 and throw this In at his window: set this up with wax Upon old Brutus’58 statue. All this done, Repair59 to Pompey’s porch, where you shall find us. Is Decius Brutus and Trebonius there? Cinna. All but Metellus Cimber, and he’s gone To seek you at your house. Well, I will hie,60 And so bestow these papers as you bade me. Cassius. That done, repair to Pompey’s Theater. Come, Casca, you and I will yet ere day See Brutus at his house; three parts of him Is ours already, and the man entire Upon the next encounter yields him ours.

[Exit Cinna.]

Casca. O, he sits high in all the people’s hearts; And that which would appear offense61 in us, His countenance,62 like richest alchemy,63 Will change to virtue and to worthiness. Cassius. Him, and his worth, and our great need of him, You have right well conceited.64 Let us go, For it is after midnight, and ere day We will awake him and be sure of him.

[Exit]

Language Study Vocabulary The italicized words in each numbered item appear in The Tragedy of Julius Caesar, Act I. Replace the italicized word in each sentence with an antonym. Then, explain which sentence makes better sense. 1. The fine-art collector was eager to spend a huge sum to buy the replication. 2. The long-distance runner was extremely strong and spare. 3. His infirmity was caused by an injury, not an illness. 4. In a scary movie, an unlocked door is often portentous. 5. The baby has a prodigious appetite because she is growing so quickly. WORD STUDY The Latin suffix -ile means “capable of” or “having the quality of.” In the play, a character is worried that he will become servile, or take on the qualities of a slave, if Caesar becomes king.

Word Study Part A Explain how the Latin suffix -ile contributes to the meanings of these words: fragile, mobile, and projectile. Consult a dictionary if necessary. Part B Use the context of the sentences and what you know about the Latin suffix -ile to explain your answer to each question. 1. Do water, ice, and steam have the same tactile qualities? 2. If a person’s behavior is infantile, is he or she acting like an adult?

566  UNIT 4  •  To what extent does experience determine what we perceive?

The Tragedy of Julius Caesar, Act I

Close Reading Activities Act I

Literary Analysis Key Ideas and Details 1. (a) At the opening of the play, how do common Romans such as the Cobbler react to Caesar’s return? (b) Infer: What do noble Romans such as Flavius and Cassius fear or resent about Caesar’s success? Support your answer with details from the play.

William Shakespeare

546  UNIT 4  •  To what extent does experience determine what we perceive?

2. (a) What warning does the soothsayer give Caesar? (b) Infer: What does Caesar’s reaction show about his character? Explain, citing details from the play. 3. Use Text Aids The text aids that precede the play include a background section on ancient Rome. Using a chart like the one shown, identify two passages in Act I that are clarified by this background information. Explain your choices.

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Passage Passage 1 2 Historical Information Connection to Passage

4. Use Text Aids In Scene ii, how do glosses 73 and 74 help readers understand what happened in the marketplace? Explain.

Craft and Structure 5. Shakespeare’s Tragedies (a) What is Cassius planning to do with the help of Cinna, Casca, and other noble Romans? Support your answer with details from the text. (b) Why is it important to them to win Brutus’ support? Explain. 6. Shakespeare’s Tragedies Given what you have read so far, explain what tragic flaw in Brutus’ character might lead him to disaster. Cite details from the text that support your analysis.

Integration of Knowledge and Ideas 7. Interpret: Identify two passages in Act I that show two different perspectives about Julius Caesar’s victorious return from war. Explain your choices. 8. Analyze: Why is it important for Cassius and his co-conspirators to win Brutus’ support for their plan against Caesar? Explain. In your explanation, cite examples and details from the drama. 9.

To what extent does experience determine what we perceive? (a) Analyze Brutus’ values as expressed in the speech in Scene ii, lines 82–89. (b) Then, analyze Cassius’ speech appealing to those values in lines 135–161 of Scene ii. (c) How do these speeches help you understand how each character perceives Caesar? Explain.

ACADEMIC VOCABULARY As you write and speak about The Tragedy of Julius Caesar, use the words related to experience and perceptions that you explored on page 517 of this book.

PART 2  •  Close Reading Activities  567

Building Knowledge To what extent does experience determine what we perceive? Explore the Big Question as you read The Tragedy of Julius Caesar, Act II. Note how characters’ past experiences with Caesar affect their perceptions.

CLOSE READING FOCUS Key Ideas and Details: Paraphrase Paraphrasing a text means restating it in your own words. • Look for punctuation that shows where sentences end. • For each sentence, identify the subject and verb. Note that Shakespeare often uses inversion, syntax in which the usual word order of a sentence is reversed. If necessary, reorder the subject and verb so they follow customary sequence. • Add helping verbs as needed to complete the meaning. Original: O conspiracy, / Sham’st thou to show thy dang’rous brow by night, / When evils are most free? Paraphrase: O conspiracy, are you ashamed to show your dangerous face at night, when it is easiest to be evil?

Craft and Structure: Blank Verse The Tragedy of Julius Caesar is written in blank verse, a poetic form characterized by unrhymed lines of iambic pentameter. • An iamb is a foot (unit of rhythm) in which an unstressed syllable is followed by a stressed syllable: da-DUH. • Pentameter is a rhythmic pattern in which each line has five feet. • In iambic pentameter, the typical line has five iambs, or five stressed syllables each preceded by an unstressed syllable: And THERE | fore THINK | him AS | a SER | pent’s EGG Shakespeare’s noble characters speak in iambic pentameter. Lower-born characters speak in prose. Sometimes, Shakespeare breaks the rhythmic pattern in a line to add contrast or emphasis.

Vocabulary The following words appear in the text that follows. Which ones are nouns? Explain how you know. augmented resolution

entreated wrathfully

568  UNIT 4  •  To what extent does experience determine what we perceive?

insurrection imminent

The Tragedy of Julius Caesar, Act II Act II

CLOSE READING MODEL The passages below are from The Tragedy of Julius Caesar, Act II. The annotations to the right of the passages show ways in which you can use close reading skills to paraphrase text and to appreciate blank verse.

William Shakespeare

546  UNIT 4  •  To what extent does experience determine what we perceive?

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from The Tragedy of Julius Caesar, Act II Lucius. Sir, March is wasted fifteen days.1 [Knock within] Brutus. ’Tis good. Go to the gate; somebody knocks. [Exit Lucius.]

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Blank Verse 1  Because this line has eight syllables, not ten, it is not iambic pentameter. Lower-born characters such as the servant Lucius generally do not speak in blank verse.

Since Cassius first did whet me against Caesar, I have not slept.2 Between the acting of a dreadful thing And the first motion, all the interim is Like a phantasma, or a hideous dream.3 The genius and the mortal instruments Are then in council, and the state of a man,

Blank Verse 2  Brutus, an aristocrat, usually speaks in blank verse. However, the line “I have not slept” is not blank verse. Shakespeare uses this short line to emphasize that Brutus is truly troubled.

Like to a little kingdom, suffers then The nature of an insurrection.

Paraphrase

……………………………………………………..

3  “The acting of” means actually doing something, and “the first motion” is the initial idea. A paraphrase could read: “The time between imagining a dreadful act and committing it seems like a terrible dream.”

Brutus. No, not an oath. If not the face of men, The sufferance of our souls, the time’s abuse— If these be motives weak, break off betimes, And every man hence to his idle bed.4 So let high-sighted tyranny range on Till each man drop by lottery.

Paraphrase 4  Adding a subject to the first part of this sentence and a verb to the second part will help with paraphrasing. The paraphrase would read: “If these reasons are not justified, then let us quit right now and go back to our beds.”

PART 2  •  Building Knowledge: The Tragedy of Julius Caesar, Act II  569

Review and Anticipate In Act I, as Caesar returns victorious from war, the common people are calling for him to be crowned emperor. Fearful of Caesar’s ambitions and unwilling to surrender their own power, Cassius and others conspire against Caesar. Cassius attempts to win the support of Brutus, a highly respected Roman. Although Brutus is a friend of Caesar’s, he worries about Caesar’s ambition. In the meantime, Caesar receives a warning to “beware the ides of March.” Act II opens on the evening before that fateful day. As you read, note how Caesar’s own pride leads him to ignore danger. Note also the contrasts that emerge between Brutus and the conspirators.

◀ Critical Viewing

What details in this painting of Caesar and his wife foreshadow tragedy?

570  UNIT 4  •  To what extent does experience determine what we perceive?

Act II Scene i. Rome. [Enter Brutus in his orchard.]

5

Brutus. What, Lucius, ho! I cannot, by the progress of the stars, Give guess how near to day. Lucius, I say! I would it were my fault to sleep so soundly. When, Lucius, when? Awake, I say! What, Lucius!

Blank Verse Explain which character, Brutus or Lucius, speaks in blank verse and why.

[Enter Lucius.]

Lucius. Called you, my lord?



Brutus. Get me a taper in my study, Lucius. When it is lighted, come and call me here.



Lucius. I will, my lord.

10

Brutus. It must be by his death; and for my part, I know no personal cause to spurn at1 him, But for the general.2 He would be crowned. How that might change his nature, there’s the question. It is the bright day that brings forth the adder,3 And that craves4 wary walking. Crown him that, And then I grant we put a sting in him That at his will he may do danger with. Th’ abuse of greatness is when it disjoins Remorse from power;5 and, to speak truth of Caesar, I have not known when his affections swayed6 More than his reason. But ’tis a common proof7 That lowliness8 is young ambition’s ladder, Whereto the climber upward turns his face; But when he once attains the upmost round, He then unto the ladder turns his back, Looks in the clouds, scorning the base degrees9 By which he did ascend. So Caesar may; Then lest he may, prevent.10 And, since the quarrel Will bear no color for the thing he is,11 Fashion it12 thus: that what he is, augmented Would run to these and these extremities;13 And therefore think him as a serpent’s egg Which hatched, would as his kind grow mischievous, And kill him in the shell.

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[Enter Lucius.]

[Exit]

1. spurn at  kick against; rebel against. 2. the general  the public good. 3. adder (ad« ßr) n. poisonous snake. 4. craves  v. requires. 5. disjoins . . . power    separates mercy from power. 6. affections swayed    emotions ruled. 7. proof  n. experience. 8. lowliness (lò » lè nßs) n.  humility. 9. base degrees  low steps or people in lower positions. 10. lest . . . prevent  in case he may, we must stop him. 11. the quarrel . . . the thing he is  our complaint cannot be justified in terms of what he now is. 12. Fashion it  state the case. 13. extremities (ek strem« ß tèz) n. extremes (of tyranny).

◀ Vocabulary

augmented (ôg ment» id) adj. made greater; enhanced Comprehension What does Brutus fear may happen if Caesar is crowned?

PART 2  •  The Tragedy of Julius Caesar, Act II, Scene i  571

14. closet  n.  study; small, private room for reading, meditation, and so on. 15. flint  n.  hard stone which, when struck with steel, makes sparks.

16. exhalations (eks« hß là« §ßnz) n. meteors. 17. &c.  et cetera (et set»  ßr ß ); Latin for “and so forth.” 18. instigations (in« stß gà »  §ßnz) n. urgings, incitements, or spurs to act. 19. piece it out  figure out the meaning. 20. under one man’s awe  in fearful reverence of one man. 21. Tarquin (tär« kwin)  king of Rome driven out by Lucius Junius Brutus, Brutus’ ancestor.

35

Lucius. The taper burneth in your closet,14 sir. Searching the window for a flint,15 I found This paper thus sealed up, and I am sure It did not lie there when I went to bed.  [Gives him the letter]

40

Brutus. Get you to bed again; it is not day. Is not tomorrow, boy, the ides of March?



Lucius. I know not, sir.



Brutus. Look in the calendar and bring me word.



Lucius. I will, sir.



Brutus. The exhalations16 whizzing in the air Give so much light that I may read by them. [Opens the letter and reads]

45

“Brutus, thou sleep’st; awake, and see thyself. Shall Rome, &c.17 Speak, strike, redress. Brutus, thou sleep’st; awake.”



50

Such instigations18 have been often dropped Where I have took them up. “Shall Rome, &c.” Thus must I piece it out:19 Shall Rome stand under one man’s awe?20 What, Rome? My ancestors did from the streets of Rome The Tarquin21 drive, when he was called a king.

LITERATURE IN CONTEXT Language Connection Archaic Word Forms Shakespeare uses some word forms that are now archaic, or out of date. For modern readers, these words give his work a tone that is both more formal and more poetic than contemporary English. These archaic forms include the following: thou pron. subjective case of a pronoun meaning “you” (the form used with family, friends, or the young) thee pron. you (objective case of thou) thy pron. your (possessive case of thou) burneth v. third-person singular present tense of burn ‘tis contraction it is doth v. third-person singular present tense of do dost v. second-person singular present tense of do (used with thou) sham’st v. second-person singular present tense of shame (used with thou)

Connect to the Literature What does this archaic language add to your experience of the play? What challenges does it pose?

572  UNIT 4  •  To what extent does experience determine what we perceive?

[Exit]

55

“Speak, strike, redress.” Am I entreated To speak and strike? O Rome, I make thee promise, If the redress will follow, thou receivest Thy full petition at the hand of22 Brutus!

[Enter Lucius.]

Lucius. Sir, March is wasted fifteen days.

60

Brutus. ’Tis good. Go to the gate; somebody knocks.

65

Since Cassius first did whet23 me against Caesar, I have not slept. Between the acting of a dreadful thing And the first motion,24 all the interim is Like a phantasma,25 or a hideous dream. The genius and the mortal instruments26 Are then in council, and the state of a man, Like to a little kingdom, suffers then The nature of an insurrection.

[Enter Lucius.] 70

Lucius. Sir, ’tis your brother27 Cassius at the door, Who doth desire to see you.



Brutus.



Lucius. No, sir, there are moe28 with him.



Brutus.



Lucius. No, sir; their hats are plucked about their ears, And half their faces buried in their cloaks, That by no means I may discover them By any mark of favor.29

75



80

85

v.  begged; pleaded insurrection (in« sß rek» §ßn) n. rebellion

[Knock within]

[Exit Lucius.]

◀ Vocabulary entreated (en trèt» id)

Is he alone?

Do you know them?

Brutus. Let ’em enter. [Exit Lucius.] They are the faction. O conspiracy, Sham’st thou to show thy dang’rous brow by night, When evils are most free? O, then by day Where wilt thou find a cavern dark enough To mask thy monstrous visage? Seek none, conspiracy; Hide it in smiles and affability: For if thou path, thy native semblance on,30 Not Erebus31 itself were dim enough To hide thee from prevention.32

[Enter the conspirators, Cassius, Casca, Decius, Cinna, Metellus Cimber, and Trebonius.]

22. Thy full . . . hand of  all you ask from. 23. whet (hwet) v. sharpen; incite. 24. motion  n. idea; suggestion. 25. all the interim . . . a phantasma (fan taz» mß)  all the time between seems like a hallucination. 26. mortal instruments   bodily powers.

27. brother  n. brother-in-law. (Cassius was married to Brutus’ sister.) 28. moe  n. more. 29. discover . . . favor identify them by any sign of their appearance.

Blank Verse Which interjection does Shakespeare use to maintain iambic pentameter in lines 77 and 79? 30. path . . . semblance on  walk looking as you normally do. 31. Erebus (er» ß bßs)  in Greek mythology, a dark region under the earth through which the dead pass on their way to Hades, the afterworld. 32. prevention  n. being discovered and stopped.

Comprehension What is Brutus’ state of mind?

PART 2  •  The Tragedy of Julius Caesar, Act II, Scene i  573

33. upon  adv.  in interfering with.

Paraphrase Paraphrase Cassius’ words in lines 90–93.

34. watchful . . . night   worries keep you from sleep. 35. entreat (in trèt«)  a word  ask for a chance to speak with you. 36. fret (fret) v.  decorate with a pattern. 37. growing on  tending toward. 38. Weighing  v. considering. 39. high  adj. due.

Vocabulary ▶ resolution (rez« ß lØ» §ßn) n.  strong determination; a plan or decision 40. the face . . . time’s abuse  the sadness on men’s faces, the patient endurance of our souls, the present abuses (that is, Caesar’s abuses of power). 41. betimes (bè tìmz») adv. quickly. 42. high-sighted  adj.  arrogant (a reference to a hawk about to swoop down on prey). 43. by lottery  by chance or in his turn.



Cassius. I think we are too bold upon33 your rest. Good morrow, Brutus; do we trouble you?



Brutus. I have been up this hour, awake all night. Know I these men that come along with you?

90

Cassius. Yes, every man of them; and no man here But honors you; and every one doth wish You had but that opinion of yourself Which every noble Roman bears of you. This is Trebonius.



Brutus.



Cassius. This, Decius Brutus.

95

Brutus.



Cassius. This, Casca; this, Cinna; and this, Metellus Cimber.



Brutus. They are all welcome. What watchful cares do interpose themselves Betwixt your eyes and night?34

100

Cassius. Shall I entreat a word?35 [They whisper.]



Decius. Here lies the east; doth not the day break here?



Casca. No.



Cinna. O, pardon, sir, it doth; and yon gray lines That fret36 the clouds are messengers of day.

105

Casca. You shall confess that you are both deceived. Here, as I point my sword, the sun arises, Which is a great way growing on37 the south, Weighing38 the youthful season of the year. Some two months hence, up higher toward the north He first presents his fire; and the high39 east Stands as the Capitol, directly here.

110

He is welcome hither.

He is welcome too.



Brutus. Give me your hands all over, one by one.



Cassius. And let us swear our resolution.



Brutus. No, not an oath. If not the face of men, The sufferance of our souls, the time’s abuse40— If these be motives weak, break off betimes,41 And every man hence to his idle bed. So let high-sighted42 tyranny range on Till each man drop by lottery.43 But if these (As I am sure they do) bear fire enough To kindle cowards and to steel with valor

115

120

574  UNIT 4  •  To what extent does experience determine what we perceive?

125

130

135

140

The melting spirits of women, then, countrymen, What need we any spur but our own cause To prick us to redress?44 What other bond Than secret Romans, that have spoke the word, And will not palter?45 And what other oath Than honesty to honesty46 engaged That this shall be, or we will fall for it? Swear priests and cowards and men cautelous,47 Old feeble carrions48 and such suffering souls That welcome wrongs; unto bad causes swear Such creatures as men doubt; but do not stain The even49 virtue of our enterprise, Nor th’ insuppressive mettle50 of our spirits, To think that or our cause or51 our performance Did need an oath; when every drop of blood That every Roman bears, and nobly bears, Is guilty of a several bastardy52 If he do break the smallest particle Of any promise that hath passed from him.



Cassius. But what of Cicero? Shall we sound him?53 I think he will stand very strong with us.



Casca. Let us not leave him out.



Cinna.



Metellus. O, let us have him, for his silver hairs Will purchase us a good opinion, And buy men’s voices to commend our deeds. It shall be said his judgment ruled our hands; Our youths and wildness shall no whit54 appear, But all be buried in his gravity.

145

No, by no means.

44. prick us to redress  goad or spur us on to correct these evils. 45. palter (pôl» tßr) v. talk insincerely. 46. honesty  personal honor. 47. cautelous (kôt» ß lßs) adj.  deceitful. 48. carrions (kar« è ßnz) n.  men who are nearly corpses. 49. even adj. constant. 50. insuppressive mettle   uncrushable courage. 51. or . . . or  either our cause or. 52. guilty . . . bastardy  is no true Roman.

53. sound him  find out his opinion.

Spiral Review Character  What is Metellus’ motivation for including Cicero in the plot against Caesar?

54. no whit  (hwit)  not the least bit. 55. break with him  confide in him.

150

Brutus. O, name him not! Let us not break with him;55 For he will never follow anything That other men begin.



Cassius.



Casca. Indeed, he is not fit.



Decius. Shall no man else be touched but only Caesar?

56. of  prep. in. 57. contriver (kßn trìv« ßr) n.  schemer. 58. improve  v. increase.

155

Cassius. Decius, well urged. I think it is not meet Mark Antony, so well beloved of Caesar, Should outlive Caesar; we shall find of56 him A shrewd contriver;57 and you know, his means, If he improve58 them, may well stretch so far

Comprehension Why does Brutus think the conspirators should not swear an oath?

Then leave him out.

PART 2  •  The Tragedy of Julius Caesar, Act II, Scene i  575

59. annoy  n. harm. 60. Like . . . envy afterwards  as if we were killing in anger with hatred afterward. 61. come by Caesar’s spirit  get hold of the principles of tyranny for which Caesar stands. 62. gentle  adj. honorable; noble.

160



165

170

Vocabulary ▶ wrathfully (raª » fßl lè) adv.  with intense anger

As to annoy59 us all; which to prevent, Let Antony and Caesar fall together. Brutus. Our course will seem too bloody, Caius Cassius, To cut the head off and then hack the limbs, Like wrath in death and envy afterwards;60 For Antony is but a limb of Caesar. Let’s be sacrificers, but not butchers, Caius. We all stand up against the spirit of Caesar, And in the spirit of men there is no blood. O, that we then could come by Caesar’s spirit,61 And not dismember Caesar! But, alas, Caesar must bleed for it. And, gentle62 friends, Let’s kill him boldly, but not wrathfully; Let’s carve him as a dish fit for the gods, Not hew him as a carcass fit for hounds.

Critical Viewing ▶ What details of this image emphasize the differences between Brutus, on the right, and the other conspirators?

576  UNIT 4  •  To what extent does experience determine what we perceive?

175

180



And let our hearts, as subtle masters do, Stir up their servants63 to an act of rage, And after seem to chide ’em.64 This shall make Our purpose necessary, and not envious; Which so appearing to the common eyes, We shall be called purgers,65 not murderers. And for Mark Antony, think not of him; For he can do no more than Caesar’s arm When Caesar’s head is off.

63. their servants  that is, the hands or the passions. 64. chide ’em  scold them. 65. purgers (p†rj» ßrz) n.  healers.

Cassius. Yet I fear him; 66 For in the ingrafted love he bears to Caesar—

185

Brutus. Alas, good Cassius, do not think of him. If he love Caesar, all that he can do Is to himself—take thought67 and die for Caesar. And that were much he should,68 for he is given To sports, to wildness, and much company.

190

Trebonius. There is no fear in him; let him not die, For he will live and laugh at this hereafter. [Clock strikes.]



Brutus. Peace! Count the clock.



Cassius.



Trebonius. ’Tis time to part.



Cassius. But it is doubtful yet Whether Caesar will come forth today or no; For he is superstitious grown of late, Quite from the main69 opinion he held once Of fantasy, of dreams, and ceremonies.70 It may be these apparent prodigies,71 The unaccustomed terror of this night, And the persuasion of his augurers72 May hold him from the Capitol today.

195

200



205

210

The clock hath stricken three.

Decius. Never fear that. If he be so resolved, I can o’ersway him;73 for he loves to hear That unicorns may be betrayed with trees,74 And bears with glasses,75 elephants with holes,76 Lions with toils,77 and men with flatterers; But when I tell him he hates flatterers He says he does, being then most flatterèd. Let me work; For I can give his humor the true bent,78 And I will bring him to the Capitol.

66. ingrafted (in graft» id) adj.  deeply rooted. 67. take thought  become melancholy. 68. that were much he should  It is unlikely he would do that.

69. Quite from the main   quite changed from the strong. 70. ceremonies  n. omens. 71. apparent prodigies   obvious omens of disaster. 72. augurers (ô« gßr ßrz) n.  augurs; officials who interpreted omens to decide if they were favorable or unfavorable for an undertaking. 73. I can o’ersway him  I can change his mind. 74. unicorns . . . trees   reference to the belief that standing in front of a tree as a unicorn charges and then stepping aside at the last moment causes the unicorn to bury its horn in the tree and so allows it to be caught. 75. glasses  n. mirrors. 76. holes  n. pitfalls. 77. toils  n.  nets; snares. 78. give his humor the true bent  bend his feelings in the right direction.

Comprehension According to Brutus, why should Antony not be killed?

PART 2  •  The Tragedy of Julius Caesar, Act II, Scene i  577

79. uttermost  adj. latest. 80. doth bear Caesar hard  has a grudge against Caesar. 81. rated  v.  berated; scolded forcefully.



Cassius. Nay, we will all of us be there to fetch him.



Brutus. By the eighth hour; is that the uttermost?79



Cinna. Be that the uttermost, and fail not then.

215

Metellus. Caius Ligarius doth bear Caesar hard,80 Who rated81 him for speaking well of Pompey. I wonder none of you have thought of him.



Brutus. Now, good Metellus, go along by him. He loves me well, and I have given him reasons; Send him but hither, and I’ll fashion82 him.

220

82. fashion  v. mold. 83. put on  show. 84. bear it  carry it off. 85. formal constancy   consistent dignity.



Cassius. The morning comes upon ’s; we’ll leave you, Brutus. And, friends, disperse yourselves; but all remember What you have said, and show yourselves true Romans.



Brutus. Good gentlemen, look fresh and merrily. Let not our looks put on83 our purposes, But bear it84 as our Roman actors do, With untired spirits and formal constancy.85 And so good morrow to you every one.   [Exit all but Brutus.] Boy! Lucius! Fast asleep? It is no matter; Enjoy the honey-heavy dew of slumber. Thou hast no figures nor no fantasies Which busy care draws in the brains of men; Therefore thou sleep’st so sound.

225

Paraphrase Paraphrase Brutus’ speech in lines 229–233 and explain which punctuation mark helps you identify the conclusion he draws.

230

[Enter Portia.]

Portia.



Brutus. Portia, what mean you? Wherefore rise you now? It is not for your health thus to commit Your weak condition to the raw cold morning.

235



Blank Verse How does shifting the accent to the first and fourth syllables in line 240 add dramatic energy to this speech? 86. wafter (wäf» tßr) n.  wave.

240

245

Brutus, my lord.

Portia. Nor for yours neither. Y’have ungently, Brutus, Stole from my bed; and yesternight at supper You suddenly arose and walked about, Musing and sighing, with your arms across; And when I asked you what the matter was, You stared upon me with ungentle looks. I urged you further; then you scratched your head, And too impatiently stamped with your foot. Yet I insisted, yet you answered not, But with an angry wafter86 of your hand Gave sign for me to leave you. So I did, Fearing to strengthen that impatience Which seemed too much enkindled, and withal

578  UNIT 4  •  To what extent does experience determine what we perceive?

250

255

Hoping it was but an effect of humor, Which sometime hath his87 hour with every man. It will not let you eat, nor talk, nor sleep, And could it work so much upon your shape As it hath much prevailed on your condition,88 I should not know you89 Brutus. Dear my lord, Make me acquainted with your cause of grief.



Brutus. I am not well in health, and that is all.



Portia. Brutus is wise and, were he not in health, He would embrace the means to come by it.

260

Brutus. Why, so I do. Good Portia, go to bed.



Portia. Is Brutus sick, and is it physical90 To walk unbracèd and suck up the humors91 Of the dank morning? What, is Brutus sick, And will he steal out of his wholesome bed, To dare the vile contagion of the night, And tempt the rheumy and unpurgèd air92 To add unto his sickness? No, my Brutus: You have some sick offense93 within your mind, Which by the right and virtue of my place I ought to know of; and upon my knees I charm94 you, by my once commended95 beauty, By all your vows of love, and that great vow96 Which did incorporate and make us one, That you unfold to me, your self, your half, Why you are heavy,97 and what men tonight Have had resort to you; for here have been Some six or seven, who did hide their faces Even from darkness.

265

270

275



Brutus.



Portia. I should not need, if you were gentle Brutus. Within the bond of marriage, tell me, Brutus, Is it excepted98 I should know no secrets That appertain99 to you? Am I your self But, as it were, in sort or limitation,100 To keep with you at meals, comfort your bed, And talk to you sometimes? Dwell I but in the suburbs101 Of your good pleasure? If it be no more, Portia is Brutus’ harlot, not his wife.

280

285

Kneel not, gentle Portia.

87. his  pron. its. 88. condition  n. disposition; mood. 89. I should not know you  I would not recognize you as.

90. physical  adj. healthy. 91. walk unbracèd . . . humors  walk with jacket unfastened and take in the dampness. 92. tempt . . . air  risk exposing yourself to the night air, which is likely to cause rheumatism and has not been purified by the sun. 93. sick offense  harmful sickness. 94. charm  v. beg. 95. commended adj.  praised. 96. great vow  marriage vow. 97. heavy  adj. sorrowful.

98. excepted  v.  made an exception that. 99. appertain (ap« ßr tàn«) v.  belong. 100. in sort or limitation  in a limited way (legal terms). 101. suburbs n. outskirts.

Comprehension What does Portia ask of Brutus?

PART 2  •  The Tragedy of Julius Caesar, Act II, Scene i  579

▲ Critical Viewing

What do the pose and expressions of Brutus and Portia in this film still reveal about their feelings? 102. ruddy drops  blood. 103. withal (wiª ôl») adv.  nevertheless. 104. Cato’s daughter Marcus Porcius (pôr« §ßs) Cato (Cato the Younger; 95–46 b.c.) supported Pompey in his quarrel with Caesar and killed himself rather than allow himself to be captured by Caesar. 105. counsels  n. secrets.



290

295

300

Brutus. You are my true and honorable wife, As dear to me as are the ruddy drops102 That visit my sad heart. Portia. If this were true, then should I know this secret. I grant I am a woman; but withal103 A woman that Lord Brutus took to wife. I grant I am a woman; but withal A woman well reputed, Cato’s daughter.104 Think you I am no stronger than my sex, Being so fathered and so husbanded? Tell me your counsels,105 I will not disclose ’em. I have made strong proof of my constancy, Giving myself a voluntary wound Here in the thigh; can I bear that with patience, And not my husband’s secrets?

580  UNIT 4  •  To what extent does experience determine what we perceive?



305

Brutus. O ye gods, 106 Render me worthy of this noble wife! Hark, hark! One knocks. Portia, go in a while, And by and by thy bosom shall partake The secrets of my heart. All my engagements107 I will construe to thee, All the charactery of my sad brows.108 Leave me with haste.

[Knock]

[Exit Portia.]

[Enter Lucius and Caius Ligarius.]

Lucius. Here is a sick man that would speak with you.



Brutus. Caius Ligarius, that Metellus spake of. Boy, stand aside. Caius Ligarius! How?



Caius. Vouchsafe good morrow from a feeble tongue.



Brutus. O, what a time have you chose out,109 brave Caius, To wear a kerchief!110 Would you were not sick!



Caius. I am not sick, if Brutus have in hand Any exploit worthy the name of honor.



Brutus. Such an exploit have I in hand, Ligarius, Had you a healthful ear to hear of it.

320

Caius. By all the gods that Romans bow before, I here discard my sickness! Soul of Rome, Brave son, derived from honorable loins,111 Thou, like an exorcist,112 hast conjured up My mortifièd spirit.113 Now bid me run, And I will strive with things impossible. Yea, get the better of them. What’s to do?

325



Brutus. A piece of work that will make sick men whole.



Caius. But are not some whole that we must make sick?



Brutus. That must we also. What it is, my Caius, I shall unfold114 to thee, as we are going To whom it must be done.

330





Caius. Set on115 your foot, And with a heart new-fired I follow you, To do I know not what; but it sufficeth116 That Brutus leads me on. Brutus.

Follow me, then.

Blank Verse By breaking the pattern of iambic pentameter, which words are emphasized in lines 307 and 308? 107. engagements  n.  commitments. 108. All the charactery of my sad brows  all that is written on my sad face.

Lucius, who’s that knocks?

310

315

106. Render (ren« dßr) v. make.

109. chose out  picked out. 110. To wear a kerchief   Caius wears a scarf to protect himself from drafts because he is sick.

111. derived from honorable loins  descended from Lucius (lØ« §è ßs) Junius Brutus, founder of the Roman Republic. 112. exorcist (ek« sôr sist) n.  one who calls up spirits. 113. mortifièd (môrt» ß fì ed) adj. deadened. 114. unfold  v. disclose. 115. Set on  advance. 116. sufficeth (sß fìs« eª )  v.  is enough.

[Thunder] [Exit]

Comprehension Why does Portia feel that Brutus should confide in her?

PART 2  •  The Tragedy of Julius Caesar, Act II, Scene i  581

Scene ii. Caesar’s house. Paraphrase Paraphrase Caesar’s remarks in lines 1–3, rearranging the subject and verb in line 2.

[Thunder and lightning. Enter Julius Caesar in his nightgown.]

Caesar. Nor heaven nor earth have been at peace tonight: Thrice hath Calpurnia in her sleep cried out, “Help, ho! They murder Caesar!” Who’s within?

[Enter a Servant.]

1. present  adj. immediate.



Servant. My lord?

5

Caesar. Go bid the priests do present1 sacrifice, And bring me their opinions of success.



Servant. I will, my lord.

[Exit]

[Enter Calpurnia.]

Calpurnia. What mean you, Caesar? Think you to walk forth? You shall not stir out of your house today.

10

Caesar. Caesar shall forth. The things that threatened me Ne’er looked but on my back; when they shall see The face of Caesar, they are vanishèd.

LITERATURE IN LITERATURE IN CONTEXT CONTEXT Culture Connection Roman Augurs In Scene ii, Caesar orders his “priests,” or augurs (ô´ gßrz), to make a sacrifice to determine whether he should go to the Senate. • In ancient Rome, augurs were officials who examined signs to determine whether the gods would grant success to a particular venture or plan. • After receiving a negative judgment from the augurs, a Roman leader might postpone an attack or cancel a meeting. • By the first century A.D., there were sixteen official augurs.

▲ Another class of priest, the

haruspices (hß rus» pß sès«), examined the patterns in the innards of a sacrificed animal.

Augurs watched for signs such as thunder ▶ and lightning and the flights of birds. They also observed the pecking of sacred chickens. Omens related to birds were called auspices.

Connect to the Literature

What does Caesar’s own interpretation of his augurs’ omen show about the straightforwardness of augury?

582  UNIT 4  •  To what extent does experience determine what we perceive?



15

20

25



Calpurnia. Caesar, I never stood on ceremonies,2 Yet now they fright me. There is one within, Besides the things that we have heard and seen, Recounts most horrid sights seen by the watch.3 A lioness hath whelpèd4 in the streets, And graves have yawned, and yielded up their dead; Fierce fiery warriors fought upon the clouds In ranks and squadrons and right form of war,5 Which drizzled blood upon the Capitol; The noise of battle hurtled6 in the air, Horses did neigh and dying men did groan, And ghosts did shriek and squeal about the street. O Caesar, these things are beyond all use,7 And I do fear them. Caesar. What can be avoided Whose end is purposed8 by the mighty gods? Yet Caesar shall go forth; for these predictions Are to the world in general as to Caesar.9

30

Calpurnia. When beggars die, there are no comets seen; The heavens themselves blaze forth10 the death of princes.



Caesar. Cowards die many times before their deaths; The valiant never taste of death but once. Of all the wonders that I yet have heard, It seems to me most strange that men should fear, Seeing that death, a necessary end, Will come when it will come.

35

2. stood on ceremonies   paid attention to omens. 3. Recounts . . . watch  tells about the awful sights seen by the watchman. 4. whelpèd  v.  given birth.

5. right form of war  proper military formation of war. 6. hurtled (h†rt« ßld) v.  clashed. 7. beyond all use  contrary to all experience.

8. is purposed  is intended. 9. for these . . . as to Caesar  because these predictions apply to the rest of the world as much as they apply to Caesar. 10. blaze forth  proclaim with meteors and comets.

Paraphrase Paraphrase the ideas in lines 32–33.

[Enter a Servant.]

40

45



What say the augurers? Servant. They would not have you to stir forth today. Plucking the entrails of an offering forth,11 They could not find a heart within the beast. Caesar. The gods do this in shame of12 cowardice: Caesar should be a beast without a heart If he should stay at home today for fear. No, Caesar shall not; Danger knows full well That Caesar is more dangerous than he. We are two lions littered13 in one day, And I the elder and more terrible, And Caesar shall go forth. Calpurnia. Alas, my lord, Your wisdom is consumed in confidence.14

11. Plucking . . . forth  pulling out the insides of a sacrificed animal (which were then “read” by augurs). 12. in shame of  in order to shame. 13. littered  v. born. 14. confidence n.  overconfidence.

Comprehension Why does Calpurnia urge Caesar to stay home?

PART 2  •  The Tragedy of Julius Caesar, Act II, Scene ii  583

Do not go forth today. Call it my fear That keeps you in the house and not your own. We’ll send Mark Antony to the Senate House, And he shall say you are not well today. Let me, upon my knee, prevail in this.

50

55

15. humor  n. whim.

Caesar. Mark Antony shall say I am not well, And for thy humor,15 I will stay at home.

[Enter Decius.] Here’s Decius Brutus, he shall tell them so.

16. in very happy time  at just the right moment.



Decius. Caesar, all hail! Good morrow, worthy Caesar; I come to fetch you to the Senate House.

60

Caesar. And you are come in very happy time16 To bear my greeting to the senators, And tell them that I will not come today. Cannot, is false; and that I dare not, falser: I will not come today. Tell them so, Decius.



Calpurnia. Say he is sick.

LITERATURE IN CONTEXT History Connection The Roman Senate Caesar is preparing to meet the Senate, the oldest Roman political institution. By this time, the Senate had evolved into the most powerful part of the Roman government: • Before Caesar’s rise to power, the Senate was made up of 500 to 600 members. • The Senate met in the Curia in the Roman Forum (see page 596). • Senators were appointed for life. Originally, all were from the patrician, or aristocratic, class. • The Senate shaped policy through advice it issued to various officials, its powers to appoint officials, and its power to negotiate with foreign countries. • After Caesar won his victory over Pompey, he eliminated his enemies in the Senate and packed it with supporters, including men of lower rank and people from outlying provinces.

Connect to the Literature

How does this information help explain the motives of the conspirators, many of whom are senators?

584  UNIT 4  •  To what extent does experience determine what we perceive?

65

Caesar. Shall Caesar send a lie? Have I in conquest stretched mine arm so far To be afeard to tell graybeards17 the truth? Decius, go tell them Caesar will not come.



Decius. Most mighty Caesar, let me know some cause, Lest I be laughed at when I tell them so.

70

75

80

Caesar. The cause is in my will: I will not come. That is enough to satisfy the Senate. But for your private satisfaction, Because I love you, I will let you know. Calpurnia here, my wife, stays me at home. She dreamt tonight she saw my statue, Which, like a fountain with an hundred spouts, Did run pure blood, and many lusty Romans Came smiling and did bathe their hands in it. And these does she apply for18 warnings and portents And evils imminent, and on her knee Hath begged that I will stay at home today.

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Decius. This dream is all amiss interpreted; It was a vision fair and fortunate: Your statue spouting blood in many pipes, In which so many smiling Romans bathed, Signifies that from you great Rome shall suck Reviving blood, and that great men shall press For tinctures, stains, relics, and cognizance.19 This by Calpurnia’s dream is signified.



Caesar. And this way have you well expounded20 it.



Decius. I have, when you have heard what I can say; And know it now, the Senate have concluded To give this day a crown to mighty Caesar. If you shall send them word you will not come, Their minds may change. Besides, it were a mock Apt to be rendered,21 for someone to say “Break up the Senate till another time, When Caesar’s wife shall meet with better dreams.” If Caesar hide himself, shall they not whisper “Lo, Caesar is afraid”? Pardon me, Caesar, for my dear dear love To your proceeding22 bids me tell you this, And reason to my love is liable.23



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17. afeard to tell graybeards  afraid to tell old men (the senators). 18. apply for  consider to be.

◀ Vocabulary imminent (im» ß nßnt)

adj.  about to happen 19. shall press . . . cognizance  Decius interprets Calpurnia’s dream with a double meaning. To Caesar he suggests that people will beg for badges to show they are Caesar’s servants; to the audience, that people will seek remembrances of his death. 20. expounded (eks p™nd« id) v. interpreted; explained. 21. mock . . . rendered  jeering comment likely to be made. 22. proceeding  n. advancing in your career.  y 23. reason . . . liable  m judgment about what I should or should not say is not as strong as my affection for you is.

Comprehension What does Decius say about the dream?

PART 2  •  The Tragedy of Julius Caesar, Act II, Scene ii  585

105

24. robe  n. toga.

Caesar. How foolish do your fears seem now, Calpurnia! I am ashamèd I did yield to them. Give me my robe,24 for I will go.

[Enter Brutus, Ligarius, Metellus Cimber, Casca, Trebonius, Cinna, and Publius.] And look where Publius is come to fetch me.

Publius. Good morrow, Caesar.



Caesar. Welcome, Publius. What, Brutus, are you stirred so early too? Good morrow, Casca. Caius Ligarius. Caesar was ne’er so much your enemy25 As that same ague26 which hath made you lean. What is’t o’clock?

110

25. Caius Ligarius . . . your enemy  Caesar had recently pardoned Ligarius for supporting Pompey during the civil war. 26. ague (à» gyØ) n. fever. 27. revels (rev« ßlz) v. makes merry.



Brutus.

115

Caesar. I thank you for your pains and courtesy.

Caesar, ’tis strucken eight.

[Enter Antony.]

28. prepare  v.  set out refreshments.



Antony. So to most noble Caesar.



Caesar. Bid them prepare28 within. I am to blame to be thus waited for. Now, Cinna; now, Metellus; what Trebonius, I have an hour’s talk in store for you; Remember that you call on me today; Be near me, that I may remember you.

120

Paraphrase Paraphrase lines 124–125.

29. That every like . . . the same  that is, that everyone who seems like a friend may actually be an enemy. 30. earns  v. sorrows.

See! Antony, that revels27 long a-nights, Is notwithstanding up. Good morrow, Antony.

125

Trebonius. Caesar, I will [aside] and so near will I be, That your best friends shall wish I had been further.



Caesar. Good friends, go in and taste some wine with me, And we (like friends) will straightway go together.



Brutus. [Aside] That every like is not the same,29 O Caesar, The heart of Brutus earns30 to think upon. [Exit]

Scene iii. A street near the Capitol, close to Brutus’ house. [Enter Artemidorus, reading a paper.]

Artemidorus. “Caesar, beware of Brutus; take heed of Cassius; come not near Casca; have an eye to Cinna; trust not Trebonius; mark well Metellus Cimber; Decius Brutus loves

586  UNIT 4  •  To what extent does experience determine what we perceive?

5

10

thee not; thou hast wronged Caius Ligarius. There is but one mind in all these men, and it is bent against Caesar. If thou beest not immortal, look about you: security gives way to conspiracy.1 The mighty gods defend thee! Thy lover,2 ARTEMIDORUS.” Here will I stand till Caesar pass along, And as a suitor3 will I give him this. My heart laments that virtue cannot live Out of the teeth of emulation.4 If thou read this, O Caesar, thou mayest live; If not, the Fates with traitors do contrive.5 [Exit]

1. security . . . conspiracy  overconfident carelessness allows the conspiracy to proceed. 2. lover  n.  devoted friend. 3. suitor (sØt» ßr) n. person who requests, petitions, or entreats. 4. Out of the teeth of emulation  beyond the reach of envy. 5. contrive  v. conspire.

Scene iv. Another part of the street. [Enter Portia and Lucius.]

Portia. I prithee,1 boy, run to the Senate House; Stay not to answer me, but get thee gone. Why dost thou stay?



Lucius.



Portia. I would have had thee there and here again Ere I can tell thee what thou shouldst do there.

5

To know my errand, madam.

1. prithee (priª » è)  “pray thee”; ask you please.

Comprehension What does Artemidorus plan to do?

◀ Critical Viewing

When might Caesar have participated in an event like the one depicted on this cup? Explain.

PART 2  •  The Tragedy of Julius Caesar, Act II, Scene iv  587

588  UNIT 4  •  To what extent does experience determine what we perceive?



O constancy,2 be strong upon my side; Set a huge mountain ’tween my heart and tongue! I have a man’s mind, but a woman’s might.3 How hard it is for women to keep counsel!4 Art thou here yet?

10

Lucius. Madam, what should I do? Run to the Capitol, and nothing else? And so return to you, and nothing else?



Portia. Yes, bring me word, boy, if thy lord look well, For he went sickly forth; and take good note What Caesar doth, what suitors press to him. Hark, boy, what noise is that?

15



Lucius. I hear none, madam.



Portia. Prithee, listen well. I heard a bustling rumor like a fray,5 And the wind brings it from the Capitol.

20

2. constancy (kän» stßn sè)  n.  firmness of mind or purpose; resoluteness. 3. might  n. strength. 4. keep counsel  keep secrets.

Blank Verse Why might Shakespeare present Lucius’ lines in blank verse in this scene? 5. fray (frà) n.  fight; brawl. 6. Sooth (sت) interjection truly.

Lucius. Sooth,6 madam, I hear nothing.

[Enter the Soothsayer.]

Portia. Come hither, fellow. Which way hast thou been?



Soothsayer. At mine own house, good lady.



Portia. What is’t o’clock?



Soothsayer.



Portia. Is Caesar yet gone to the Capitol?

25

Soothsayer. Madam, not yet; I go to take my stand, To see him pass on the Capitol.



Portia. Thou hast some suit7 to Caesar, hast thou not?



30

Soothsayer. That I have, lady; if it will please Caesar To be so good to Caesar as to hear me, I shall beseech him to befriend himself.



Portia. Why, know’st thou any harm’s intended towards him?



Soothsayer. None that I know will be, much that I fear may chance. Good morrow to you. Here the street is narrow; The throng that follows Caesar at the heels, Of senators, of praetors,8 common suitors,

35

About the ninth hour, lady.

7. suit (sØt) n. petition. 8. praetors (prè» tßrz) n.  Roman officials of the rank below consul.

Comprehension What does Portia ask of Lucius?

◀ Critical Viewing

Judging from its ruins, how might the Forum in Rome have compared to a modern city center? PART 2  •  The Tragedy of Julius Caesar, Act II, Scene iv  589



9. void (v¡d) adj. empty.

Will crowd a feeble man almost to death. I’ll get me to a place more void,9 and there Speak to great Caesar as he comes along. [Exit]

40

10. speed  v. make successful. 11. enterprise (en« tßr prìz«) n.  undertaking; project. 12. command me  give my kind regard.

45

Portia. I must go in. Ay me, how weak a thing The heart of woman is! O Brutus, The heavens speed10 thee in thine enterprise!11 Sure, the boy heard me—Brutus hath a suit That Caesar will not grant—O, I grow faint. Run, Lucius, and commend me12 to my lord; Say I am merry; come to me again, And bring me word what he doth say to thee. [Exit separately]

Language Study Vocabulary The italicized word in each item below appears in The Tragedy of Julius Caesar, Act II. For each item, determine whether or not the words are synonyms, or words of similar meanings. Explain your reasoning. 1. augmented, angered 2. insurrection, revolt 3. resolution, glory 4. wrathfully, furiously 5. imminent, enduring WORD STUDY The Latin prefix en- means “in,” “into,” or “within.” In the play, a character wonders if he is being entreated, or asked in earnest, to act for the good of his country.

Word Study Part A Explain how the Latin prefix en- contributes to the meanings of endanger, encircle, and enlighten. Consult a dictionary if necessary. Part B Use the context of the sentences and what you know about the Latin prefix en- to explain your answer to each question. 1. Are children safe if a new toy endangers them? 2. If critics are enthralled by a movie, will they give it bad reviews?

590  UNIT 4  •  To what extent does experience determine what we perceive?

The Tragedy of Julius Caesar, Act II

Close Reading Activities Act II

Literary Analysis Key Ideas and Details 1. (a) In Act II, Scene i, what coming event disturbs Brutus? Cite details from the text that provide this information. (b) Interpret: In Scene i, lines 32–34, what point does Brutus make in comparing Caesar to a serpent’s egg? Explain.

William Shakespeare

546  UNIT 4  •  To what extent does experience determine what we perceive?

2. (a) What does the writer of the letter that Lucius finds urge Brutus to do? (b) Infer: Why do you think the writer leaves gaps in the letter? (c) Infer: What inferences can you draw from the way Brutus fills in these gaps? Explain, citing details from the text that support your inferences.

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3. Paraphrase Paraphrase Brutus’ two questions in line 234 of Scene i. 4. Paraphrase (a) List four words in Portia’s final speech in Scene iv that are no longer used or no longer used in the same sense. For each, give a modern word that means the same thing. (b) Paraphrase the speech.

Craft and Structure 5. Blank Verse (a) Copy lines 42–43 of Scene ii and mark them to indicate the stressed ( ‘ ) and unstressed ( ˘ ) syllables. (b) Which line of blank verse illustrates perfect iambic pentameter? (c) Explain how the rhythm of the other line reinforces the importance of certain words. 6. Blank Verse Create a chart like the one shown to examine the dialogue of Flavius, the Cobbler, Brutus, and Portia in Acts I and II. Select a passage of dialogue for each character. Indicate whether the character typically speaks in blank verse or prose, and identify each as either an aristocrat or a commoner. Complete one chart for each character.

Integration of Knowledge and Ideas

Example Dialogue

Blank Verse or Prose?

Aristocrat or Commoner?

7. (a) Analyze: Why does Brutus decide to join the conspirators? (b) Evaluate: Are Brutus’ reasons for joining the conspiracy convincing or flawed? Explain. 8.

Character

ACADEMIC VOCABULARY

To what extent does experience determine what we perceive? Calpurnia and Decius Brutus have different interpretations of Calpurnia’s dream. (a) What is Calpurnia’s perception of her dream? What information contributes to her point of view? (b) What is Decius Brutus’ interpretation of her dream? What information underlies his explanation?

As you write and speak about The Tragedy of Julius Caesar, use the words related to experience and perceptions that you explored on page 517 of this book.

PART 2  •  Close Reading Activities  591

Building Knowledge To what extent does experience determine what we perceive? Explore the Big Question as you read The Tragedy of Julius Caesar, Act III. Take notes on how the characters’ experiences shape their perceptions and actions.

CLOSE READING FOCUS Key Ideas and Details: Analyze Imagery Writers often use imagery, language that appeals to the senses, to make abstract ideas vivid and concrete. In Act III, Shakespeare uses many images that focus on words and the body, including the following: • Wounds that speak • Burying Caesar’s body rather than speaking praise of him • “Plucking” a poet’s name out of his heart In each case, a reference to words (speech, praise, names) is coupled with an image of a person’s physical body (a corpse, wounds, the heart). In this way, Shakespeare links physical violence in Rome with disrespect for laws—the words that bind society. As you read Act III, look for examples of such imagery.

Craft and Structure: Dramatic Speeches Many plays feature specialized forms of dialogue called dramatic speeches. • Soliloquy: a long speech in which a character, usually alone on stage, reveals private thoughts and feelings. While the character may address the audience directly, the convention is that the audience is simply overhearing the character talking or thinking out loud. • Aside: a remark a character makes, usually to the audience, that is not heard by other characters on stage • Monologue: a long speech by one character usually heard by the other characters Each type of dramatic speech serves multiple purposes. For example, a monologue may reveal the play’s theme or advance the plot.

Vocabulary The words below are key to understanding the selection. Decide whether you know each word well, know it a little bit, or do not know it at all. After you read, see how your knowledge of each word has increased. confounded spectacle prophesy strife discourse interred 592  UNIT 4  •  To what extent does experience determine what we perceive?

The Tragedy of Julius Caesar, Act III Act III

CLOSE READING MODEL The passages below are from The Tragedy of Julius Caesar, Act III. The annotations to the right of the passages show ways in which you can use close reading skills to analyze imagery and dramatic speeches.

from The Tragedy of Julius Caesar, Act III Antony. …Gentlemen all—alas, what shall I say? My credit now stands on such slippery ground That one of two bad ways you must conceit me, Either a coward or a flatterer. That I did love thee, Caesar, O, ’tis true!

William Shakespeare

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Dramatic Speeches 1  In this monologue, Antony addresses the conspirators directly, and then—as the conspirators look on—delivers an emotional outpouring of grief over Caesar.

If then thy spirit look upon us now, Shall it not grieve thee dearer than thy death To see thy Antony making his peace,

Analyze Imagery 2  Shakespeare likens Caesar’s wounds to eyes streaming tears. This bold imagery links Caesar’s dead body to the extraordinary grief that Antony actually feels and believes he should express.

Shaking the bloody fingers of thy foes,1 Most noble, in the presence of thy corse? Had I as many eyes as thou hast wounds, Weeping as fast as they stream forth thy blood, It would become me better than to close In terms of friendship with thine enemies.

Dramatic Speeches 2

………………………………………………………..… Antony. O pardon me, thou bleeding piece of earth, That I am meek and gentle with these butchers!

3  Later in the same scene, Antony is left alone on stage to deliver this soliloquy. Out of earshot of the other characters, he reveals critical information: He will have revenge on the “butchers.”

Thou art the ruins of the noblest man That ever livèd in the tide of times. Woe to the hand that shed this costly blood!3

Analyze Imagery

Over thy wounds now do I prophesy

4  Shakespeare compares Caesar’s open stab wounds to mouths that beg Antony to speak. This graphic, disturbing image links the physicality of Caesar’s dead body to an abstract idea—the need for justice.

(Which like dumb mouths do ope their ruby lips To beg the voice and utterance of my tongue), A curse shall light upon the limbs of men;4 Domestic fury and fierce civil strife Shall cumber all the parts of Italy….

PART 2  •  Building Knowledge: The Tragedy of Julius Caesar, Act III  593

Review and Anticipate Having ignored the warnings of the soothsayer in Act I and those of his wife, Calpurnia, in Act II, Caesar proceeds to the Capitol on the ides of March. Decius has told him that the Senate is ready to confer a crown upon him. Caesar is accompanied by the conspirators, led by Cassius and Brutus, as well as by his friend Mark Antony. Meanwhile, Artemidorus plans to reveal the conspiracy to Caesar. As Act III unfolds, Caesar approaches the Capitol, and events take a fateful, irreversible turn.

594  UNIT 4  •  To what extent does experience determine what we perceive?

Act III Scene i. Rome. Before the Capitol. [Flourish of trumpets. Enter Caesar, Brutus, Cassius, Casca, Decius, Metellus Cimber, Trebonius, Cinna, Antony, Lepidus, Artemidorus, Publius, Popilius, and the Soothsayer.] Caesar. The ides of March are come. Soothsayer. Ay, Caesar, but not gone. Artemidorus. Hail, Caesar! Read this schedule.1 5

Decius. Trebonius doth desire you to o’er-read, At your best leisure, this his humble suit.2

1. schedule (ske« jøl) n.  paper. 2. suit  n.  petition; plea. 3. touches  v. concerns.

Artemidorus. O Caesar, read mine first; for mine’s a suit That touches3 Caesar nearer. Read it, great Caesar. Caesar. What touches us ourself shall be last served. Artemidorus. Delay not, Caesar; read it instantly. Caesar. What, is the fellow mad? 10

Publius.

Sirrah, give place.4

Cassius. What, urge you your petitions in the street? Come to the Capitol. [Caesar goes to the Capitol, the rest following.]

Dramatic Speeches How does the dialogue between Artemidorus and Caesar create suspense?

4. give place  get out of the way.

Popilius. I wish your enterprise today may thrive. Cassius. What enterprise, Popilius? Popilius.

Fare you well. [Advances to Caesar]

15

Brutus. What said Popilius Lena?

Brutus. Look how he makes to5 Caesar; mark him.

5. makes to  approaches. 6. be sudden  be quick. 7. Cassius . . . back  either Cassius or Caesar will not return alive.

Cassius. Casca, be sudden,6 for we fear prevention. Brutus, what shall be done? If this be known, Cassius or Caesar never shall turn back,7 For I will slay myself.

Comprehension What does Artemidorus want Caesar to do?

Cassius. He wished today our enterprise might thrive. I fear our purpose is discoverèd.

20

PART 2  •  The Tragedy of Julius Caesar, Act III, Scene i  595

Brutus. Cassius, be constant.8 Popilius Lena speaks not of our purposes; For look, he smiles, and Caesar doth not change.9

8. constant  adj.  firm; calm. 9. change  v.  that is, change the expression on his face. 25

Cassius. Trebonius knows his time; for look you, Brutus, He draws Mark Antony out of the way. [Exit Antony and Trebonius.]

10. presently prefer his suit  immediately present his petition. 11.  addressed  adj. ready. 12. second  v. support. 13. amiss . . . redress  wrong that Caesar and his Senate must correct. 14. puissant (pyØ « i sßnt)  adj. powerful.

Decius. Where is Metellus Cimber? Let him go And presently prefer his suit10 to Caesar. Brutus. He is addressed.11 Press near and second12 him. 30

Cinna. Casca, you are the first that rears your hand. Caesar. Are we all ready? What is now amiss That Caesar and his Senate must redress?13 Metellus. Most high, most mighty, and most puissant14 Caesar, Metellus Cimber throws before thy seat An humble heart. [Kneeling]

LITERATURE IN CONTEXT History Connection

The Temple of Jupiter Capitolinus

The Roman Forum

The Tabularium, or Hall of Records

Caesar receives petitioners at the Senate House in the Roman Forum. Consisting of a plaza, or open space lined with buildings, the Forum (shown here) was the center of government and commercial activity in ancient Rome. The Temple of Saturn, used as a treasury

The Arch of Tiberius, one of several arches erected to commemorate military victories The Curia, or Senate House The Basilica Aemilia, in which business was conducted

Connect to the Literature

Why might the arrangement of the Roman Forum enable public attacks such as the one the conspirators have planned?

596  UNIT 4  •  To what extent does experience determine what we perceive?

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Caesar. I must prevent thee, Cimber. These couchings and these lowly courtesies15 Might fire the blood of ordinary men, And turn preordinance and first decree Into the law of children.16 Be not fond17 To think that Caesar bears such rebel blood That will be thawed from the true quality18 With that which melteth fools—I mean sweet words, Low-crookèd curtsies, and base spaniel fawning.19 Thy brother by decree is banishèd. If thou dost bend and pray and fawn for him, I spurn20 thee like a cur out of my way. Know, Caesar doth not wrong, nor without cause Will he be satisfied. Metellus. Is there no voice more worthy than my own, To sound more sweetly in great Caesar’s ear For the repealing21 of my banished brother? Brutus. I kiss thy hand, but not in flattery, Caesar, Desiring thee that Publius Cimber may Have an immediate freedom of repeal.22 Caesar. What, Brutus?

15. couchings . . . courtesies low bowings and humble gestures of reverence. 16. And turn . . . law of children  and change what has already been decided as children might change their minds. 17. fond  adj. foolish (enough). 18. rebel . . . quality  unstable disposition that will lose its firmness. 19. base spaniel fawning  low doglike cringing. 20. spurn  v.  kick disdainfully. 21. repealing  n. recalling; ending the banishment. 22. freedom of repeal   permission to be recalled.

Comprehension What worries Cassius?

▼ Critical Viewing

Judging from these ruins of the Roman Forum, how large might the crowds around the Senate have been on the ides of March? Explain.

PART 2  •  The Tragedy of Julius Caesar, Act III, Scene i  597

55

23. enfranchisement (en fran« £ìz mßnt) n. freedom. 24. pray to move  beg others to change their minds. 25. resting  adj. immovable. 26. fellow  n. equal. 27. firmament (f†r» mß mßnt)  n. sky. 28. his  p  ron. its. 29. apprehensive (ap« rß hen» siv) adj.  able to understand. 30. one/That unassailable . . . rank one who, unattackable, maintains his position. 31. Unshaked of motion   unmoved by his own or others’ impulses.

60

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Cassius. Pardon, Caesar; Caesar, pardon! As low as to thy foot doth Cassius fall To beg enfranchisement23 for Publius Cimber. Caesar. I could be well moved, if I were as you; If I could pray to move,24 prayers would move me; But I am constant as the Northern Star, Of whose true-fixed and resting25 quality There is no fellow26 in the firmament.27 The skies are painted with unnumb’red sparks, They are all fire and every one doth shine; But there’s but one in all doth hold his28 place. So in the world; ’tis furnished well with men, And men are flesh and blood, and apprehensive;29 Yet in the number I do know but one That unassailable holds on his rank,30 Unshaked of motion;31 and that I am he,

▼ Critical Viewing

Which details in this picture suggest Caesar’s ignorance?

598  UNIT 4  •  To what extent does experience determine what we perceive?

Let me a little show it, even in this— That I was constant32 Cimber should be banished, And constant do remain to keep him so.

32. constant  adj. determined. 33. Olympus (ò lim» pßs)  n.  mountain in Greece on which the Greek gods were said to live. 34. bootless (bØt» lis)  adv. uselessly.

Cinna. O Caesar— Caesar.

Hence! Wilt thou lift up Olympus?33

Decius. Great Caesar— 75

Caesar.

Doth not Brutus bootless34 kneel?

Casca. Speak hands for me! Caesar. Et tu, Brutè?

35

[They stab Caesar.]

Then fall, Caesar.

Cinna. Liberty! Freedom! Tyranny is dead! Run hence, proclaim, cry it about the streets. 80

Cassius. Some to the common pulpits,36 and cry out “Liberty, freedom, and enfranchisement!” Brutus. People, and senators, be not affrighted. Fly not; stand still; ambition’s debt is paid.37 Casca. Go to the pulpit, Brutus. Decius.

85

And Cassius too.

Brutus. Where’s Publius?38 Cinna. Here, quite confounded with this mutiny.39 Metellus. Stand fast together, lest some friend of Caesar’s Should chance—

90

35. Et tu, Brutè?  L atin for “And you, too, Brutus?” 36. pulpits (pul» pits) n.  speakers’ platforms. 37. ambition’s . . . paid  ambition received what it deserved. 38. Publius (pØb» lè ßs)  an elderly senator.

◀ Vocabulary confounded (kßn f™n» did) adj. made

to feel confused

Brutus. Talk not of standing. Publius, good cheer; There is no harm intended to your person, Nor to no Roman else. So tell them, Publius. Cassius. And leave us, Publius, lest that the people Rushing on us should do your age some mischief.

95

[Dies]

Analyze Imagery In what way does line 76 combine ideas of words with images of violence?

Brutus. Do so; and let no man abide40 this deed But we the doers.

[Enter Trebonius.] Cassius. Where is Antony?

39. mutiny (myØt» ’n è )  n.  revolt against authority, such as a rebellion of soldiers against their officers. 40. let no man abide  let no man take responsibility for. 41. amazed  adj. astounded. 42. As  conj.  as if.

trebonius.

Fled to his house amazed.41 Men, wives, and children stare, cry out and run, As42 it were doomsday.

Brutus.

Fates, we will know your pleasures.

Comprehension What do the conspirators do to Caesar?

PART 2  •  The Tragedy of Julius Caesar, Act III, Scene i  599

100

43. ’tis but the time . . . upon  It is only the time of death and the length of life that people care about.

Analyze Imagery Find an example of an image linking blood and words in lines 103–110. 44. market place  the open area of the Roman Forum, the center of government, business, and public life in ancient Rome. 45. in sport  for amusement; the deed will be acted out in plays. 46. on Pompey’s basis lies along  by the pedestal of Pompey’s statue lies stretched out. 47. knot  n. group.

That we shall die, we know; ’tis but the time, And drawing days out, that men stand upon.43 Casca. Why, he that cuts off twenty years of life Cuts off so many years of fearing death.

105

110

Brutus. Grant that, and then is death a benefit. So are we Caesar’s friends, that have abridged His time of fearing death. Stoop, Romans, stoop, And let us bathe our hands in Caesar’s blood Up to the elbows, and besmear our swords. Then walk we forth, even to the market place,44 And waving our red weapons o’er our heads, Let’s all cry “Peace, freedom, and liberty!” Cassius. Stoop then, and wash. How many ages hence Shall this our lofty scene be acted over In states unborn and accents yet unknown!

115

Brutus. How many times shall Caesar bleed in sport,45 That now on Pompey’s basis lies along46 No worthier than the dust! Cassius. So oft as that shall be, So often shall the knot47 of us be called The men that gave their country liberty. Decius. What, shall we forth?

120

48. grace his heels  do honor to his heels; follow him. 49. Soft  interjection wait

Cassius. Ay, every man away. Brutus shall lead, and we will grace his heels48 With the most boldest and best hearts of Rome.

[Enter a  Servant.] Brutus. Soft,49 who comes here? A friend of Antony’s.

125

50. royal  adj.  showing noble generosity. 130

51. be resolved  have it explained.

135

Servant. Thus, Brutus, did my master bid me kneel; Thus did Mark Antony bid me fall down; And, being prostrate, thus he bade me say: Brutus is noble, wise, valiant, and honest; Caesar was mighty, bold, royal,50 and loving. Say I love Brutus and I honor him; Say I feared Caesar, honored him, and loved him. If Brutus will vouchsafe that Antony May safely come to him and be resolved51 How Caesar hath deserved to lie in death, Mark Antony shall not love Caesar dead So well as Brutus living; but will follow The fortunes and affairs of noble Brutus

600  UNIT 4  •  To what extent does experience determine what we perceive?

Thorough the hazards of this untrod state52 With all true faith. So says my master Antony.

140

52. Thorough . . . state   through the dangers of this new state of affairs.

Brutus. Thy master is a wise and valiant Roman; I never thought him worse. Tell him, so53 please him come unto this place, He shall be satisfied and, by my honor, Depart untouched. Servant.

53. so  conj.  if it should.

I’ll fetch him presently.54 [Exit Servant]

Brutus. I know that we shall have him well to friend.55 145

Cassius. I wish we may. But yet have I a mind That fears him much; and my misgiving still Falls shrewdly to the purpose.56

[Enter Antony.] Brutus. But here comes Antony. Welcome, Mark Antony.

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54. presently adv.  immediately. 55. to friend  as a friend.

Antony. O mighty Caesar! Dost thou lie so low? Are all thy conquests, glories, triumphs, spoils, Shrunk to this little measure? Fare thee well. I know not, gentlemen, what you intend, Who else must be let blood,57 who else is rank.58 If I myself, there is no hour so fit As Caesar’s death’s hour, nor no instrument Of half that worth as those your swords, made rich With the most noble blood of all this world. I do beseech ye, if you bear me hard,59 Now, whilst your purpled hands60 do reek and smoke, Fulfill your pleasure. Live61 a thousand years, I shall not find myself so apt62 to die; No place will please me so, no mean of death,63 As here by Caesar, and by you cut off, The choice and master spirits of this age. Brutus. O Antony, beg not your death of us! Though now we must appear bloody and cruel, As by our hands and this our present act You see we do, yet see you but our hands And this the bleeding business they have done. Our hearts you see not; they are pitiful;64 And pity to the general wrong of Rome— As fire drives out fire, so pity pity65— Hath done this deed on Caesar. For your part, To you our swords have leaden66 points, Mark Antony:

56. my misgiving . . . to the purpose  my doubts always turn out to be justified.

Dramatic Speeches What is Antony’s purpose in delivering this monologue?

57. be let blood  (a pun) “be bled for medical purposes” or “be killed.” 58. rank  (a pun) “too powerful” or “swollen with disease and therefore in need of bloodletting.” 59. bear me hard  have a grudge against me. 60. purpled hands  bloody hands. 61. Live  if I live. 62. apt  adj. ready. 63. mean of death  way of dying. 64. pitiful  adj.  full of pity or compassion. 65. pity pity  pity for Rome drove out pity for Caesar. 66. leaden  adj.  dull; blunt.

Comprehension What does Antony ask of the conspirators?

PART 2  •  The Tragedy of Julius Caesar, Act III, Scene i  601

67. Our arms . . . / Of brothers’ temper  our arms strengthened with the desire to do harm and our hearts filled with brotherly feelings. 68. voice  n. vote. 69. dignities  n. offices.

175

Cassius. Your voice68 shall be as strong as any man’s In the disposing of new dignities.69 180

70. deliver  v.  tell to.

Dramatic Speeches In this monologue, what image of his state of mind does Antony create for the conspirators?

185

190

71. credit  n. reputation. 72. conceit (kßn sèt») v.  think of. 73. dearer  adv.  more deeply. 74. corse  n. corpse. 75. close (clòz) v.  reach an agreement. 76. bayed  v. cornered. 77. hart (härt) n. deer.

Analyze Imagery What images of the body does Antony use to contrast his real grief with his words of friendship? 78. Signed in thy spoil   marked by signs of your slaughter. 79. Lethe (lè» ªè)  river in Hades, the mythological Greek underworld inhabited by the dead; here, a river of blood. 80. stroken  v.  struck down.

Our arms in strength of malice, and our hearts Of brothers’ temper,67 do receive you in With all kind love, good thoughts, and reverence.

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Brutus. Only be patient till we have appeased The multitude, beside themselves with fear, And then we will deliver70 you the cause Why I, that did love Caesar when I struck him, Have thus proceeded. Antony. I doubt not of your wisdom. Let each man render me his bloody hand. First, Marcus Brutus, will I shake with you; Next, Caius Cassius, do I take your hand; Now, Decius Brutus, yours; now yours, Metellus; Yours, Cinna; and, my valiant Casca, yours; Though last, not least in love, yours, good Trebonius. Gentlemen all—alas, what shall I say? My credit71 now stands on such slippery ground That one of two bad ways you must conceit72 me, Either a coward or a flatterer. That I did love thee, Caesar, O, ’tis true! If then thy spirit look upon us now, Shall it not grieve thee dearer73 than thy death To see thy Antony making his peace, Shaking the bloody fingers of thy foes, Most noble, in the presence of thy corse?74 Had I as many eyes as thou hast wounds, Weeping as fast as they stream forth thy blood, It would become me better than to close75 In terms of friendship with thine enemies. Pardon me, Julius! Here wast thou bayed,76 brave hart;77 Here didst thou fall, and here thy hunters stand, Signed in thy spoil78 and crimsoned in thy Lethe.79 O world, thou wast the forest to this hart; And this indeed, O world, the heart of thee. How like a deer, stroken80 by many princes. Dost thou here lie! Cassius. Mark Antony—

602  UNIT 4  •  To what extent does experience determine what we perceive?

Antony. Pardon me, Caius Cassius. The enemies of Caesar shall say this; Then, in a friend, it is cold modesty.81 215

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Cassius. I blame you not for praising Caesar so; But what compact82 mean you to have with us? Will you be pricked83 in number of our friends, Or shall we on,84 and not depend on you? Antony. Therefore I took your hands, but was indeed Swayed from the point by looking down on Caesar. Friends am I with you all, and love you all, Upon this hope, that you shall give me reasons Why, and wherein, Caesar was dangerous. Brutus. Or else were this a savage spectacle. Our reasons are so full of good regard85 That were you, Antony, the son of Caesar, You should be satisfied. Antony. That’s all I seek; And am moreover suitor that I may Produce86 his body to the market place, And in the pulpit, as becomes a friend, Speak in the order87 of his funeral. Brutus. You shall, Mark Antony. Cassius. Brutus, a word with you. [Aside to Brutus] You know not what you do; do not consent That Antony speak in his funeral. Know you how much the people may be moved By that which he will utter?

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Brutus. By your pardon: I will myself into the pulpit first, And show the reason of our Caesar’s death. What Antony shall speak, I will protest88 He speaks by leave and by permission, And that we are contented Caesar shall Have all true rites and lawful ceremonies. It shall advantage more than do us wrong.89 Cassius. I know not what may fall;90 I like it not.

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Brutus. Mark Antony, here, take you Caesar’s body. You shall not in your funeral speech blame us, But speak all good you can devise of Caesar,

81. cold modesty  calm, moderate speech. 82. compact (käm» pakt) n.  agreement. 83. pricked  v.  marked down; included. 84. on  proceed.

◀ Vocabulary spectacle (spek» tß kßl) 

n.  strange or remarkable sight

85. so full of good regard  so carefully considered. 86. Produce  v.  bring forth. 87. order  n.  course of the ceremonies.

Dramatic Speeches Why does Cassius wish to prevent others from hearing what he says in this aside to Brutus?

88. protest  v. declare. 89. advantage . . . wrong  benefit us more than hurt us. 90. what may fall  what may happen.

Comprehension What rules must Antony follow in delivering his funeral speech for Caesar?

PART 2  •  The Tragedy of Julius Caesar, Act III, Scene i  603

250

Antony. I do desire no more.

Dramatic Speeches What does Antony’s soliloquy in lines 254–275 reveal to the audience that other characters do not know?

[Exit all but Antony.]

91. tide of times  course of all history. 92. cumber (kum« bßr) v.  distress; burden.

Analyze Imagery Identify two ways in which lines 259–262 combine ideas of words and bodies.

260

Vocabulary ▶ prophesy (präf» ß sì «)  v.  predict what will happen

265

93. in use  customary. 94. custom of fell deeds   being used to cruel acts. 95. ranging  adj. roaming like a wild beast in search of prey. 96. Atè (à» tè)  Greek goddess personifying criminal folly or reckless ambition in people. 97. confines (kän» fìnz) n.  boundaries. 98. Havoc  L atin for “no quarter,” a signal for general slaughter. 99. let slip  release from a leash. 100. carrion (kar« è ßn)  adj.  dead and rotting.

Be it so;

Brutus. Prepare the body then, and follow us.

255

strife (strìf) n.  struggle; conflict

And say you do’t by our permission; Else shall you not have any hand at all About his funeral. And you shall speak In the same pulpit whereto I am going, After my speech is ended.

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Antony. O pardon me, thou bleeding piece of earth, That I am meek and gentle with these butchers! Thou art the ruins of the noblest man That ever livèd in the tide of times.91 Woe to the hand that shed this costly blood! Over thy wounds now do I prophesy (Which like dumb mouths do ope their ruby lips To beg the voice and utterance of my tongue), A curse shall light upon the limbs of men; Domestic fury and fierce civil strife Shall cumber92 all the parts of Italy; Blood and destruction shall be so in use,93 And dreadful objects so familiar, That mothers shall but smile when they behold Their infants quartered with the hands of war, All pity choked with custom of fell deeds;94 And Caesar’s spirit, ranging95 for revenge, With Atè96 by his side come hot from hell, Shall in these confines97 with a monarch’s voice Cry “Havoc,”98 and let slip99 the dogs of war, That this foul deed shall smell above the earth With carrion100 men, groaning for burial.

[Enter Octavius’ Servant.] You serve Octavius Caesar, do you not? Servant. I do, Mark Antony. Antony. Caesar did write for him to come to Rome. 280

Servant. He did receive his letters and is coming, And bid me say to you by word of mouth— O Caesar! [Seeing the body]

604  UNIT 4  •  To what extent does experience determine what we perceive?

▲ Critical Viewing

Which scene in the play might this image depict? Explain.

285

Antony. Thy heart is big;101 get thee apart and weep. Passion, I see, is catching, for mine eyes, Seeing those beads of sorrow stand in thine, Began to water. Is thy master coming?

101. big  adj.  swollen with grief. 102. leagues (lègz) n.  units of measure, each equivalent in Roman times to about a mile and a half. 103. Post  v. hasten. 104. hath chanced  has happened. 105. try  v. test. 106. oration (ò rà » §ßn) n.  formal public speech. 107. cruel issue  outcome of the cruelty.

Servant. He lies tonight within seven leagues102 of Rome.

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Antony. Post103 back with speed, and tell him what hath chanced.104 Here is a mourning Rome, a dangerous Rome, No Rome of safety for Octavius yet. Hie hence and tell him so. Yet stay awhile; Thou shalt not back till I have borne this corse Into the market place; there shall I try105 In my oration106 how the people take The cruel issue107 of these bloody men; According to the which, thou shalt discourse To young Octavius of the state of things. Lend me your hand.

◀ Vocabulary discourse (dis» kôrs« ) 

v.  speak on a topic formally and at length

[Exit]

Comprehension What is Antony’s real response to Caesar’s death?

PART 2  •  The Tragedy of Julius Caesar, Act III, Scene i  605

Scene ii. The Forum 1. Plebeians (ple bè «ßnz) n.  commoners; members of the lower class. 2. be satisfied  get an explanation. 3. part the numbers  divide the crowd.

[Enter Brutus and goes into the pulpit, and Cassius, with the Plebeians.1] Plebeians. We will be satisfied!2 Let us be satisfied!

5

Brutus. Then follow me, and give me audience, friends. Cassius, go you into the other street And part the numbers.3 Those that will hear me speak, let ’em stay here; Those that will follow Cassius, go with him; And public reasons shall be renderèd Of Caesar’s death. First Plebeian.

4. severally (sev» ßr ßl è)  adv. separately. 5. lovers  n.  dear friends. 6. Censure (sen» §ßr) v.  judge. 7. senses  n.  powers of reason.

10

Third Plebeian. The noble Brutus is ascended. Silence!

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25

8. base  adj. low. 9. bondman  n. slave. 10. rude  adj. uncivilized. 11. vile (vìl) adj.  mean; lowborn; of low character.

Second Plebeian. I will hear Cassius, and compare their reasons, When severally4 we hear them renderèd. [Exit Cassius, with some of the Plebeians.]

15

Dramatic Speeches What is Brutus’ purpose in delivering this monologue?

I will hear Brutus speak.

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35

Brutus. Be patient till the last. Romans, countrymen, and lovers,5 hear me for my cause, and be silent, that you may hear. Believe me for mine honor, and have respect to mine honor, that you may believe. Censure6 me in your wisdom, and awake your senses,7 that you may the better judge. If there be any in this assembly, any dear friend of Caesar’s, to him I say that Brutus’ love to Caesar was no less than his. If then that friend demand why Brutus rose against Caesar, this is my answer: Not that I loved Caesar less, but that I loved Rome more. Had you rather Caesar were living, and die all slaves, than that Caesar were dead, to live all free men? As Caesar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honor him; but, as he was ambitious, I slew him. There is tears, for his love; joy, for his fortune; honor, for his valor; and death, for his ambition. Who is here so base,8 that would be a bondman?9 If any, speak; for him have I offended. Who is here so rude,10 that would not be a Roman? If any, speak; for him have I offended. Who is here so vile,11 that will not love his country? If any, speak; for him have I offended. I pause for a reply. All. None, Brutus, none!

606  UNIT 4  •  To what extent does experience determine what we perceive?

40

Brutus. Then none have I offended. I have done no more to Caesar than you shall do to Brutus. The question of his death is enrolled in the Capitol;12 his glory not extenuated,13 wherein he was worthy, nor his offenses enforced,14 for which he suffered death.

12. The question . . . in the Capitol  The issues that led to his death are on record in the Capitol. 13. extenuated (ek sten» yØ  àt« id) adj. undervalued; made less of. 14. enforced (en fôrs’d»)  adj. exaggerated.

[Enter Mark Antony, with Caesar’s body.]

45

Here comes his body, mourned by Mark Antony, who, though he had no hand in his death, shall receive the benefit of his dying, a place in the commonwealth, as which of you shall not? With this I depart, that, as I slew my best lover for the good of Rome, I have the same dagger for myself, when it shall please my country to need my death.

Dramatic Speeches In this monologue, how does Brutus emphasize his sincerity?

All. Live, Brutus! Live, live! First Plebeian. Bring him with triumph home unto his house. 50

Second Plebeian. Give him a statue with his ancestors. Third Plebeian. Let him be Caesar. Fourth Plebeian. Shall be crowned in Brutus.

Caesar’s better parts15 15. parts  n. qualities.

First Plebeian. We’ll bring him to his house with shouts and   clamors. Brutus. My countrymen— Second Plebeian. 55

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Peace! Silence! Brutus speaks.

First Plebeian. Peace, ho! Brutus. Good countrymen, let me depart alone, And, for my sake, stay here with Antony. Do grace to Caesar’s corpse, and grace his speech Tending to Caesar’s glories,16 which Mark Antony By our permission, is allowed to make. I do entreat you, not a man depart, Save I alone, till Antony have spoke. First Plebeian. Stay, ho! And let us hear Mark Antony.

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Third Plebeian. Let him go up into the public chair; We’ll hear him. Noble Antony, go up. Antony. For Brutus’ sake, I am beholding17 to you. Fourth Plebeian. What does he say of Brutus?

[Exit]

16. Do grace . . . glories  Show respect for Caesar’s body and for the speech telling of Caesar’s achievements. 17. beholding  adj. indebted.

Comprehension What reason for killing Caesar does Brutus offer to the plebeians?

PART 2  •  The Tragedy of Julius Caesar, Act III, Scene ii  607

608  UNIT 4  •  To what extent does experience determine what we perceive?

Third Plebeian. He says, for Brutus’ sake, He finds himself beholding to us all. Fourth Plebeian. ’Twere best he speak no harm of Brutus   here! First Plebeian. This Caesar was a tyrant. 70

Antony. You gentle Romans— All.

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What does this film still of Antony addressing the plebeians suggest about the power of his words? Explain.

Third Plebeian. Nay, that’s certain. We are blest that Rome is rid of him. Second Plebeian. Peace! Let us hear what Antony can say.

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◀ Critical Viewing

Peace, ho! Let us hear him.

Antony. Friends, Romans, countrymen, lend me your ears; I come to bury Caesar, not to praise him. The evil that men do lives after them, The good is oft interrèd with their bones; So let it be with Caesar. The noble Brutus Hath told you Caesar was ambitious. If it were so, it was a grievous fault, And grievously hath Caesar answered18 it. Here, under leave of Brutus and the rest (For Brutus is an honorable man, So are they all, all honorable men), Come I to speak in Caesar’s funeral. He was my friend, faithful and just to me; But Brutus says he was ambitious, And Brutus is an honorable man. He hath brought many captives home to Rome, Whose ransoms did the general coffers19 fill; Did this in Caesar seem ambitious? When that the poor have cried, Caesar hath wept; Ambition should be made of sterner stuff. Yet Brutus says he was ambitious; And Brutus is an honorable man. You all did see that on the Lupercal I thrice presented him a kingly crown, Which he did thrice refuse. Was this ambition? Yet Brutus says he was ambitious; And sure he is an honorable man. I speak not to disprove what Brutus spoke, But here I am to speak what I do know. You all did love him once, not without cause; What cause withholds you then to mourn for him?

Dramatic Speeches How is Antony’s monologue both similar to and different from Brutus’ in lines 12–34? ◀ Vocabulary interred (in t†rd») v. 

buried (said of a dead body) 18. answered  v.  paid the penalty for.

19. general coffers  public treasury.

Dramatic Speeches Contrast Antony’s stated purpose in this monologue with the probable effect of lines 92–100 on his audience.

Comprehension How does Antony describe Brutus’ character?

PART 2  •  The Tragedy of Julius Caesar, Act III, Scene ii  609

Analyze Imagery In lines 106–108, which images link Antony’s heart and inability to continue speaking?

105

O judgment, thou art fled to brutish beasts, And men have lost their reason! Bear with me; My heart is in the coffin there with Caesar, And I must pause till it come back to me. First Plebeian. Methinks there is much reason in his sayings.

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Second Plebeian. If thou consider rightly of the matter, Caesar has had great wrong. Third Plebeian. Has he, masters? I fear there will a worse come in his place.

20. dear abide it  pay dearly for it.

Fourth Plebeian. Marked ye his words? He would not take the crown, Therefore ’tis certain he was not ambitious. 115

First Plebeian. If it be found so, some will dear abide it.20 Second Plebeian. Poor soul, his eyes are red as fire with weeping. Third Plebeian. There’s not a nobler man in Rome than Antony. Fourth Plebeian. Now mark him, he begins again to speak.

21. so poor to  low enough in rank to.

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22. commons  n. plebeians; commoners. 23. napkins  n. handkerchiefs.

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24. issue  n. children; offspring.

Antony. But yesterday the word of Caesar might Have stood against the world; now lies he there, And none so poor to21 do him reverence. O masters! If I were disposed to stir Your hearts and minds to mutiny and rage, I should do Brutus wrong and Cassius wrong, Who, you all know, are honorable men. I will not do them wrong; I rather choose To wrong the dead, to wrong myself and you, Than I will wrong such honorable men. But here’s a parchment with the seal of Caesar; I found it in his closet; ’tis his will. Let but the commons22 hear this testament, Which, pardon me, I do not mean to read, And they would go and kiss dead Caesar’s wounds, And dip their napkins23 in his sacred blood; Yea, beg a hair of him for memory, And dying, mention it within their wills, Bequeathing it as a rich legacy Unto their issue.24 Fourth Plebeian. We’ll hear the will; read it, Mark Antony.

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All. The will, the will! We will hear Caesar’s will!

610  UNIT 4  •  To what extent does experience determine what we perceive?

145

Antony. Have patience, gentle friends, I must not read it. It is not meet25 you know how Caesar loved you. You are not wood, you are not stones, but men; And being men, hearing the will of Caesar, It will inflame you, it will make you mad. ’Tis good you know not that you are his heirs; For if you should, O, what would come of it? Fourth Plebeian. Read the will! We’ll hear it, Antony! You shall read us the will, Caesar’s will!

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Antony. Will you be patient? Will you stay awhile? I have o’ershot myself26 to tell you of it. I fear I wrong the honorable men Whose daggers have stabbed Caesar; I do fear it.

25. meet  adj.  fitting; suitable.

Spiral Review Character  What is Antony’s real motivation for telling the crowd they should not read Caesar’s testament? 26. o’ershot myself  gone further than I meant to.

Fourth Plebeian. They were traitors. Honorable men! 155

All. The will! The testament! Second Plebeian. They were villains, murderers! The will! Read the will!

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Antony. You will compel me then to read the will? Then make a ring about the corpse of Caesar, And let me show you him that made the will. Shall I descend? And will you give me leave?

Analyze Imagery In what way does the action on stage connect Caesar’s body and the words in his will?

All. Come down. Second Plebeian. Descend.

[Antony comes down.]

Third Plebeian. You shall have leave. 165

Fourth Plebeian. A ring! Stand round. First Plebeian. Stand from the hearse,27 stand from the body! Second Plebeian. Room for Antony, most noble Antony! Antony. Nay, press not so upon me; stand far28 off. All. Stand back! Room! Bear back.

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Antony. If you have tears, prepare to shed them now. You all do know this mantle;29 I remember The first time ever Caesar put it on: ’Twas on a summer’s evening, in his tent, That day he overcame the Nervii.30 Look, in this place ran Cassius’ dagger through; See what a rent31 the envious32 Casca made; Through this the well-belovèd Brutus stabbed, And as he plucked his cursèd steel away,

27. hearse (h†rs) n. coffin. 28. far  adv. farther. 29. mantle (man« tßl) n.  cloak; toga. 30. Nervii (n†r« vè ì)  n.  warlike European tribe conquered by Caesar in 57 b.c. 31. rent  n.  hole; tear; rip. 32. envious (en« vè ßs) adj.  spiteful.

Comprehension What effect does Antony’s speech have on the crowd?

PART 2  •  The Tragedy of Julius Caesar, Act III, Scene ii  611

▲ Critical Viewing

Compare this image with the one on page 608. Which details here suggest Antony’s intensifying emotions?

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33. As  conj.  as if. 34. to be resolved  to learn for certain. 35. unkindly  adv. cruelly; also, unnaturally. 36. flourished (fl†r» i§ ’d)  v.  swaggered; waved a sword in triumph. 37. dint  n.  stroke; blow. 38. what  adv. why. 39. vesture (ves» £ßr) n.  clothing. 40. with  prep. by.

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Mark how the blood of Caesar followed it, As33 rushing out of doors, to be resolved34 If Brutus so unkindly35 knocked, or no; For Brutus, as you know, was Caesar’s angel. Judge, O you gods, how dearly Caesar loved him! This was the most unkindest cut of all; For when the noble Caesar saw him stab, Ingratitude, more strong than traitors’ arms, Quite vanquished him. Then burst his mighty heart; And, in his mantle muffling up his face, Even at the base of Pompey’s statue (Which all the while ran blood) great Caesar fell. O, what a fall was there, my countrymen! Then I, and you, and all of us fell down, Whilst bloody treason flourished36 over us. O, now you weep, and I perceive you feel The dint37 of pity; these are gracious drops. Kind souls, what38 weep you when you but behold Our Caesar’s vesture39 wounded? Look you here, Here is himself, marred as you see with40 traitors. First Plebeian. O piteous spectacle!

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Second Plebeian. O noble Caesar!

612  UNIT 4  •  To what extent does experience determine what we perceive?

Third Plebeian. O woeful day! Fourth Plebeian. O traitors, villains! First Plebeian. O most bloody sight! Second Plebeian. We will be revenged. 205

All. Revenge! About!41 Seek! Burn! Fire! Kill! Slay! Let not a traitor live!

41. About  let’s go.

Antony. Stay, countrymen. First Plebeian. Peace there! Hear the noble Antony. 210

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Second Plebeian. We’ll hear him, we’ll follow him, we’ll die with him! Antony. Good friends, sweet friends, let me not stir you up To such a sudden flood of mutiny. They that have done this deed are honorable. What private griefs42 they have, alas, I know not, That made them do it. They are wise and honorable, And will, no doubt, with reasons answer you. I come not, friends, to steal away your hearts; I am no orator, as Brutus is; But (as you know me all) a plain blunt man That love my friend, and that they know full well That gave me public leave to speak43 of him. For I have neither writ, nor words, nor worth, Action, or utterance,44 nor the power of speech To stir men’s blood; I only speak right on.45 I tell you that which you yourselves do know, Show you sweet Caesar’s wounds, poor poor dumb mouths, And bid them speak for me. But were I Brutus, And Brutus Antony, there were an Antony Would ruffle up your spirits, and put a tongue In every wound of Caesar’s that should move The stones of Rome to rise and mutiny.

42. private griefs  personal grievances. 43. public leave to speak   permission to speak in public. 44. neither writ . . . utterance (ut» ßr ßns)  neither a written speech, nor fluency, nor reputation, nor gestures, nor style of speaking. 45. right on  directly.

Analyze Imagery Which images in Antony’s speech combine ideas of words, the body, and violence?

All. We’ll mutiny. First Plebeian.  We’ll burn the house of Brutus. Third Plebeian. Away, then! Come, seek the conspirators. antony. 235

Yet hear me, countrymen. Yet hear me speak.

All. Peace, ho! Hear Antony, most noble Antony! Antony. Why, friends, you go to do you know not what: Wherein hath Caesar thus deserved your loves?

Comprehension How does the crowd feel toward the conspirators after Antony’s speech?

PART 2  •  The Tragedy of Julius Caesar, Act III, Scene ii  613

Alas, you know not; I must tell you then: You have forgot the will I told you of. 240

46. several  adj. individual. 47. royal  adj.  showing noble generosity. 48. walks . . . orchards   parks, his private stands of trees, and newly planted gardens. 49. common pleasures   public places of recreation.

Analyze Imagery Moved by news of Caesar’s words, what action does the crowd take involving Caesar’s body?

All. Most true, the will! Let’s stay and hear the will. Antony. Here is the will, and under Caesar’s seal. To every Roman citizen he gives, To every several46 man, seventy-five drachmas. Second Plebeian. Most noble Caesar! We’ll revenge his death!

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Third Plebeian. O royal47 Caesar! Antony. Hear me with patience. All. Peace, ho!

250

255

50. brands  n. torches. 51. forms, windows  benches and shutters. 52. work  v.  spread and expand, as yeast does; follow through to a conclusion.

Antony. Moreover, he hath left you all his walks, His private arbors, and new-planted orchards,48 On this side Tiber; he hath left them you, And to your heirs forever: common pleasures,49 To walk abroad and recreate yourselves. Here was a Caesar! When comes such another? First Plebeian. Never, never! Come, away, away! We’ll burn his body in the holy place, And with the brands50 fire the traitors’ houses. Take up the body. Second Plebeian. Go fetch fire. Third Plebeian. Pluck down benches.

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Fourth Plebeian. Pluck down forms, windows,51 anything! [Exit Plebeians with the body.] Antony. Now let it work:52 Mischief, thou art afoot, Take thou what course thou wilt.

[Enter Servant.]

How now, fellow?

Servant. Sir, Octavius is already come to Rome. Antony. Where is he? 265

Servant. He and Lepidus are at Caesar’s house. Antony. And thither53 will I straight to visit him; He comes upon a wish.54 Fortune is merry, And in this mood will give us anything.

53. thither  adv. there. 54. upon a wish  as I wished. 55. Are rid  have ridden.

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Servant. I heard him say, Brutus and Cassius Are rid55 like madmen through the gates of Rome.

614  UNIT 4  •  To what extent does experience determine what we perceive?

Antony. Belike56 they had some notice of the people,57 How I had moved them. Bring me to Octavius.

[Exit]

Scene iii. A street.

56. Belike  adv. probably. 57. notice of the people  word about the mood of the people.

[Enter Cinna the Poet, and after him the Plebeians.] Cinna. I dreamt tonight1 that I did feast with Caesar, And things unluckily charge my fantasy.2 I have no will to wander forth of doors,3 Yet something leads me forth.

Dramatic Speeches To whom is Cinna’s speech addressed?

First Plebeian. What is your name?

5

Second Plebeian. Whither are you going? Third Plebeian. Where do you dwell? Fourth Plebeian. Are you a married man or a bachelor? Second Plebeian. Answer every man directly.4 10

First Plebeian. Ay, and briefly.

1. tonight  adv.  last night. 2. things . . . fantasy  the events that have happened give an unlucky meaning to my dream. 3. forth of doors  outdoors. 4. directly  adv.  in a straightforward manner. 5. bear me a bang  get a blow from me.

Fourth Plebeian. Ay, and wisely. Third Plebeian. Ay, and truly, you were best.

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Cinna. What is my name? Whither am I going? Where do I dwell? Am I a married man or a bachelor? Then, to answer every man directly and briefly, wisely and truly: wisely I say, I am a bachelor. Second Plebeian. That’s as much as to say, they are fools that marry; you’ll bear me a bang5 for that, I fear. Proceed directly.

Comprehension What has Caesar left the citizens of Rome in his will?

Extispicium relief (inspection of entrails) from the Forum of Trajan, Rome. Louvre, Paris, France.

PART PART 2  2 •  • The The Tragedy Tragedy of of Julius Julius Caesar, Caesar, Act Act III, III, Scene Scene iii  ii  615

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Cinna. Directly, I am going to Caesar’s funeral. First Plebeian. As a friend or an enemy? Cinna. As a friend. Second Plebeian. That matter is answered directly. Fourth Plebeian. For your dwelling, briefly.

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Cinna. Briefly, I dwell by the Capitol. Third Plebeian. Your name, sir, truly. Cinna. Truly, my name is Cinna.

Analyze Imagery How does a confusion about Cinna’s name place his body in danger?

First Plebeian. Tear him to pieces! He’s a conspirator. Cinna. I am Cinna the poet! I am Cinna the poet! 30

Fourth Plebeian. Tear him for his bad verses! Tear him for his bad verses! Cinna. I am not Cinna the conspirator.

6. turn him going  send him on his way. 7. Firebrands  n. burning pieces of wood; also, people who stir up others to revolt.

Fourth Plebeian. It is no matter, his name’s Cinna; pluck but his name out of his heart, and turn him going.6 35

Third Plebeian. Tear him, tear him! [They attack him.] Come, brands, ho! Firebrands!7 To Brutus’, to Cassius’! Burn all! Some to Decius’ house, and some to Casca’s; some to Ligarius’! Away, go! [Exit all the Plebeians with Cinna.]

Language Study Vocabulary The italicized words in each item below appear in Act III. Choose a word from the items that follow to complete each analogy. 1. vague : definite :: confounded : (a) certain, (b) lost, (c) unclear 2. remember : past :: prophesy : (a) sky, (b) present, (c) future 3. tuxedo : T-shirt :: discourse : (a) jeans, (b) lecture, (c) chat 4. stored : attic :: interred : (a) museum, (b) cemetery, (c) exit 5. merriment : laughter :: strife : (a) yelling, (b) singing, (c) blushing WORD STUDY The Latin root -spectmeans “to look at” or “behold.” In the play, a character refers to the spectacle, or astonishing sight, of Caesar’s death and wonders how others will view it.

Word Study Part A Explain how the Latin root -spect- contributes to the meanings of the words perspective, spectator, and spectrum. Consult a dictionary if necessary. Part B Use the context of the sentences and what you know about the Latin root -spect- to explain your answer to each question. 1. Why is it usually important to inspect a car before buying it? 2. If you speculate about how to build a bookcase, are you actively building it?

616  UNIT 4  •  To what extent does experience determine what we perceive?

The Tragedy of Julius Caesar, Act III

Close Reading Activities Act III

Literary Analysis Key Ideas and Details 1. (a) What famous Latin words does Caesar say in Scene i, line 77, when he sees Brutus among the assassins? (b) Interpret: What emotions do these words convey? Explain your answer.

William Shakespeare

2. (a) How does Antony respond to the conspirators after the assassination? (b) Analyze: What are the motives for his actions?

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3. Analyze Imagery (a) Identify three examples of imagery in Act III related to the human body and words. (b) Explain how each image links words with the human body and the meaning each image suggests. 4. Analyze Imagery (a) In Caesar’s monologue in Scene i, lines 35–43, with what traits is blood linked? (b) In lines 164–172 of that same scene, with what does Brutus link Caesar’s blood? Explain your answers.

Craft and Structure 5. Dramatic Speeches Using a chart like the one shown, analyze the following passages from Act III: Scene i, lines 183–210; Scene i, lines 254–275; and, Scene ii, lines 261–262. (a) Identify each speech as an aside, a soliloquy, or a monologue. (b) Explain who hears each speech. (c) Paraphrase each speech. 6. Dramatic Speeches Contrast the thoughts and feelings Antony expresses in his dialogue with other characters in Scene i, lines 218–222 with the thoughts and feelings he shares in Scene i, lines 254–275.

Lines: Type of Speech

Who hears it?

Paraphrase

7. Dramatic Speeches (a) Contrast the style and purpose of Antony’s and Brutus’ funeral speeches. (b) What does each speech reveal about the speaker? (c) What happens as a result of each speech? Cite evidence from the text in your answers.

Integration of Knowledge and Ideas 8. Make a Judgment: Is Caesar responsible for his own death? Explain, supporting your response with evidence from the text. 9.

To what extent does experience determine what we perceive? The crowd’s perception of Caesar’s death changes based on the different accounts given. (a) Summarize: Explain how Brutus justifies the assassination in his speech to the crowd. (b) Analyze: Explain how Antony turns the crowd against the conspirators. Support your response with details from the text.

ACADEMIC VOCABULARY As you write and speak about The Tragedy of Julius Caesar, use the words related to experience and perceptions that you explored on page 517 of this book.

PART 2  •  Close Reading Activities  617

Building Knowledge To what extent does experience determine what we perceive? Explore the Big Question as you read The Tragedy of Julius Caesar, Act IV. Note how the characters’ earlier experiences continue to shape their perceptions and decisions.

CLOSE READING FOCUS Key Ideas and Details: Read Between the Lines When reading Shakespearean drama, combine clues in the text with your own knowledge to read between the lines, or make inferences about what the playwright suggests but does not directly say. • Begin with text evidence. For example, early in Act IV, Antony describes Lepidus as “meet to be sent on errands.” Antony has been deciding which of his rivals will share power. By reading between the lines, the reader understands that Antony feels Lepidus is competent to run errands but not to do much else. • Follow indirect references. When Lucilius reports on Cassius, Brutus says, “Thou has described / A hot friend cooling.” “A hot friend” refers to Cassius, whom Brutus worries is no longer his ally. • Think about the larger ideas even small details suggest.

Craft and Structure: External and Internal Conflict Conflict, a struggle between opposing forces, creates drama. • In an external conflict, a character struggles with an outside force, such as another character, nature, or society. • In an internal conflict, a character struggles with his or her own opposing beliefs, desires, or values. In The Tragedy of Julius Caesar, characters face both types of conflict. These varied, interlinking conflicts drive the plot and form the structure of the play.

Vocabulary You will encounter the following words in this act of the play. Decide whether you know the word well, know it a little bit, or do not know it at all. After you read, see how your knowledge of each word has increased. legacies rash

condemned mirth

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chastisement presume

The Tragedy of Julius Caesar, Act IV Act IV

CLOSE READING MODEL The passages below are from The Tragedy of Julius Caesar, Act IV. The annotations to the right of the passages show ways in which you can use close reading skills to read between the lines and analyze conflict.

William Shakespeare

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from The Tragedy of Julius Caesar, Act IV Brutus. Let me tell you, Cassius, you yourself Are much condemned to have an itching palm, To sell and mart your offices for gold To undeservers. Cassius.

I an itching palm?

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External Conflict 1  An external conflict develops between Brutus and Cassius when Brutus accuses his co-conspirator of using his position to take bribes. Infuriated by the charge, Cassius makes threats against Brutus’ life.

You know that you are Brutus that speaks this, Or, by the gods, this speech were else your last.1 Brutus. The name of Cassius honors this corruption, And chastisement doth therefore hide his head. ……………………………………………………........... Brutus. No man bears sorrow better. Portia is dead. Cassius. Ha? Portia? Brutus. She is dead. Cassius. How scaped I killing when I crossed you so? O insupportable and touching loss!

Read Between the Lines

Upon what sickness?

2  Brutus’ wife Portia has killed herself over the news that Antony’s army, intent on avenging Caesar’s death, has grown strong. Reading between the lines, you can infer that Brutus and Cassius are in real danger.

Brutus.

Impatient of my absence,

And grief that young Octavius with Mark Antony Have made themselves so strong—for with her death That tidings came—with this she fell distract, And (her attendants absent) swallowed fire.2 Cassius. And died so? Brutus. Cassius.

Even so.

Internal Conflict

O ye immortal gods!

[Enter lucius, with wine and tapers.] Brutus. Speak no more of her. Give me a bowl of wine.3 In this I bury all unkindness, Cassius. [Drinks]

3  Throughout this scene Brutus admits to feeling grief over Portia’s death but struggles to repress his emotions. His sorrow is in conflict with his philosophical beliefs, and he asks Cassius not to speak of Portia.

PART 2  •  Building Knowledge: The Tragedy of Julius Caesar, Act IV  619

Review and Anticipate In Act III, after the conspirators assassinate Caesar, Brutus and Antony both speak at his funeral. Brutus explains that Caesar’s death was necessary to keep Romans free. Antony, however, convinces the crowd that Caesar was a great man, whereas Brutus is a traitor. The crowd rushes off to find and destroy the conspirators. As Act IV opens, Antony and his allies, Octavius and Lepidus, are deciding which of their political rivals are to be killed. Meanwhile, conflict is brewing between their enemies, Cassius and Brutus.

▶ Critical Viewing

Which of the qualities that Antony has shown in the play are portrayed in this sculpture of him?

620  UNIT 4  •  To what extent does experience determine what we perceive?

Act IV Scene i. A house in Rome. [Enter Antony, Octavius, and Lepidus.] Antony. These many then shall die; their names are pricked.1

1. pricked  v.  checked off.

Octavius. Your brother too must die; consent you, Lepidus? Lepidus. I do consent— Octavius. 5

Prick him down, Antony.

Lepidus. Upon condition Publius shall not live, Who is your sister’s son, Mark Antony. Antony. He shall not live; look, with a spot I damn him.2 But, Lepidus, go you to Caesar’s house; Fetch the will hither, and we shall determine How to cut off some charge in legacies.3

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Lepidus. What, shall I find you here? Octavius. Or4 here or at the Capitol.

[Exit Lepidus.]

Antony. This is a slight unmeritable5 man, Meet6 to be sent on errands; is it fit, The threefold world7 divided, he should stand One of the three to share it? 15

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Octavius. So you thought him, And took his voice8 who should be pricked to die In our black sentence and proscription.9 Antony. Octavius, I have seen more days10 than you; And though we lay these honors on this man, To ease ourselves of divers sland’rous loads,11 He shall but bear them as the ass bears gold, To groan and sweat under the business, Either led or driven, as we point the way; And having brought our treasure where we will, Then take we down his load, and turn him off, (Like to the empty ass) to shake his ears And graze in commons.12 Octavius. You may do your will; But he’s a tried and valiant soldier.

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Antony. So is my horse, Octavius, and for that I do appoint him store of provender.13

2. with a spot . . . him  with a mark on the tablet, I condemn him. 3. cut off some charge in legacies  save costs by changing the amount of gifts left in the will.

◀ Vocabulary legacies (leg» ß sèz) n.

money, property, or position left in a will to someone 4. Or  conj. either. 5. slight unmeritable   insignificant and without merit. 6. Meet  adj. suitable. 7. threefold world  three areas of the Roman Empire—Europe, Asia, and Africa. 8. voice  n.  vote; opinion. 9. black . . . proscription  list of those sentenced to death or exile. 10. have seen more days  am older. 11. divers sland’rous loads   various burdens of blame. 12. in commons  on public pasture. 13. appoint . . . provender   give him a supply of food.

Comprehension What is the conflict between Antony and Octavius?

PART 2  •  The Tragedy of Julius Caesar, Act IV, Scene i  621

14. wind (wìnd) v. turn. 15. His . . . spirit  his bodily movements governed by my mind. 16. taste  n.  degree; measure. 17. barren-spirited  without ideas of his own. 18. feeds / On objects, arts, and imitations  enjoys curiosities, clever ways, and fashions. 19. staled  v. cheapened. 20. Begin his fashion  he begins to use. (He is hopelessly behind the times.) 21. property  n.  tool; object. 22. levying powers  enlisting troops. 23. straight make head   quickly gather soldiers. 24. best friends made   closest allies chosen. 25. stretched  adj.  used to full advantage. 26. presently  adv. immediately. 27. How . . . answerèd  how hidden dangers may be discovered and known dangers met. 28. at the stake . . . enemies  surrounded by enemies like a bear tied to a stake and set upon by many dogs. (Bear-baiting was a popular amusement in Elizabethan England.) 29. mischiefs  n.  plans to injure us.

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It is a creature that I teach to fight, To wind,14 to stop, to run directly on, His corporal motion governed by my spirit.15 And, in some taste,16 is Lepidus but so. He must be taught, and trained, and bid go forth. A barren-spirited17 fellow; one that feeds On objects, arts, and imitations,18 Which, out of use and staled19 by other men, Begin his fashion.20 Do not talk of him But as a property.21 And now, Octavius, Listen great things. Brutus and Cassius Are levying powers;22 we must straight make head.23 Therefore let our alliance be combined, Our best friends made,24 our means stretched;25 And let us presently26 go sit in council How covert matters may be best disclosed, And open perils surest answerèd.27 Octavius. Let us do so; for we are at the stake, And bayed about with many enemies;28 And some that smile have in their hearts, I fear, Millions of mischiefs.29[Exit]

Scene ii. Camp near Sardis. [Drum. Enter Brutus, Lucilius, Lucius, and the Army. Titinius and Pindarus meet them.] Brutus. Stand ho! lucilius.

Give the word, ho! and stand.

Brutus. What now, Lucilius, is Cassius near? 5

1. To do you salutation  to bring you greetings. 2. In his own . . . done undone  Whether his actions are due to a change in his feelings toward me or to bad advice from subordinates, he has made me wish we did not do what we did. 3. be satisfied  obtain an explanation. 4. full of regard  worthy of respect. 5. resolved  adj. fully informed.

Lucilius. He is at hand, and Pindarus is come To do you salutation1 from his master. Brutus. He greets me well. Your master, Pindarus, In his own change, or by ill officers, Hath given me some worthy cause to wish Things done undone;2 but if he be at hand, I shall be satisfied.3

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Pindarus. I do not doubt But that my noble master will appear Such as he is, full of regard4 and honor. Brutus. He is not doubted. A word, Lucilius, How he received you; let me be resolved.5

622  UNIT 4  •  To what extent does experience determine what we perceive?

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Lucilius. With courtesy and with respect enough, But not with such familiar instances,6 Nor with such free and friendly conference7 As he hath used of old. Brutus. Thou hast described A hot friend cooling. Ever note, Lucilius, When love begins to sicken and decay It useth an enforcèd ceremony.8 There are no tricks in plain and simple faith; But hollow9 men, like horses hot at hand,10 Make gallant show and promise of their mettle;11

6. familiar instances  marks of friendship. 7. conference  n.  conversation. 8. enforcèd ceremony   forced formality. 9. hollow  adj. insincere. 10. hot at hand  full of spirit when reined in. 11. mettle  n.  spirit; high character; courage. 12. They fall . . . the trial   They drop their necks, and like worn-out, worthless horses, fail the test.

[Low march within] 25

But when they should endure the bloody spur, They fall their crests, and like deceitful jades Sink in the trial.12 Comes his army on?

Comprehension What is Brutus’ present attitude toward Cassius?

▼ Critical Viewing

Which details in this film still reflect the fact that Antony (far right) dominates over both Lepidus and Octavius?

PART 2  •  The Tragedy of Julius Caesar, Act IV, Scene ii  623

Lucilius. They mean this night in Sardis to be quartered;13 The greater part, the horse in general,14 Are come with Cassius.

13. quartered  v. provided with places to stay. 14. horse in general  cavalry. 15. Powers  n.  forces; troops.

[Enter Cassius and his Powers.15] 30

16. gently  adv. slowly.

Brutus. Hark! He is arrived. March gently16 on to meet him. Cassius. Stand, ho! Brutus. Stand, ho! Speak the word along. First Soldier. Stand!

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Second Soldier. Stand! Third Soldier. Stand! Cassius. Most noble brother, you have done me wrong. Brutus. Judge me, you gods! Wrong I mine enemies? And if not so, how should I wrong a brother?

17. sober form  serious manner.

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18. be content  be patient.

Read Between the Lines Brutus and Cassius are standing near their troops. Why does Brutus suggest meeting in his tent?

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Cassius. Brutus, this sober form17 of yours hides wrongs; And when you do them— Brutus. Cassius, be content.18 Speak your griefs softly; I do know you well. Before the eyes of both our armies here (Which should perceive nothing but love from us) Let us not wrangle. Bid them move away; Then in my tent, Cassius, enlarge19 your griefs, And I will give you audience. Cassius. Pindarus, Bid our commanders lead their charges20 off A little from this ground.

19. enlarge  v.  freely express. 20. charges  n. troops. 50

Brutus. Lucilius, do you the like, and let no man Come to our tent till we have done our conference. Let Lucius and Titinius guard our door. [Exit all but Brutus and Cassius]

Vocabulary ▶ condemned (kßn demd») v. declared to be guilty of wrongdoings 1. noted  v. publicly denounced. 2. praying on his side   pleading on his behalf. 3. slighted off  disregarded.

Scene iii. Brutus’ tent.

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Cassius. That you have wronged me doth appear in this: You have condemned and noted1 Lucius Pella For taking bribes here of the Sardians; Wherein my letters, praying on his side,2 Because I knew the man, was slighted off.3 Brutus. You wronged yourself to write in such a case.

624  UNIT 4  •  To what extent does experience determine what we perceive?

Cassius. In such a time as this it is not meet That every nice offense should bear his comment.4 10

Brutus. Let me tell you, Cassius, you yourself Are much condemned to have an itching palm,5 To sell and mart6 your offices for gold To undeservers. Cassius. I an itching palm? You know that you are Brutus that speaks this, Or, by the gods, this speech were else your last.

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Brutus. The name of Cassius honors7 this corruption, And chastisement doth therefore hide his head.

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Brutus. Remember March, the ides of March remember. Did not great Julius bleed for justice’ sake? What villain touched his body, that did stab, And not8 for justice? What, shall one of us, That struck the foremost man of all this world But for supporting robbers,9 shall we now Contaminate our fingers with base bribes, And sell the mighty space of our large honors10 For so much trash11 as may be graspèd thus? I had rather be a dog, and bay12 the moon, Than such a Roman.

rash (ra§) adj. given to acting without thinking; impulsive Read Between the Lines When Brutus asks who stabbed Caesar “not for justice,” what is he suggesting about Cassius?

Cassius. Is’t possible? Brutus. Hear me, for I will speak. Must I give way and room to your rash choler?19 Shall I be frighted when a madman stares?

Comprehension Of what does Brutus accuse Cassius?

Cassius. Brutus, bait13 not me; I’ll not endure it. You forget yourself To hedge me in.14 I am a soldier, I, Older in practice, abler than yourself To make conditions.15 Go to! You are not, Cassius.

Cassius. I am. Brutus. I say you are not. Cassius. Urge16 me no more, I shall forget myself; Have mind upon your health;17 tempt me no farther. Brutus. Away, slight18 man!

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chastisement (£as» tiz mßnt) n. severe

8. And not  except. 9. But . . . robbers  Here Brutus says, for the first time, that Caesar’s officials were also involved in taking bribes and that this was a motive in his assassination. 10. honors  n. reputations. 11. trash  n.  that is, money. 12. bay  v.  howl at. 13. bait  harass (as a bear tied to a stake is harassed by dogs). 14. hedge me in  restrict my actions. 15. make conditions  manage affairs. 16. Urge  v.  drive onward. 17. health  n. safety. 18. slight  adj. insignificant. 19. choler (käl» ßr) n. anger.

Brutus.

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◀ Vocabulary

criticism; punishment

Cassius. Chastisement!

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4. every . . . comment  every petty fault should receive his criticism. 5. condemned . . . palm   accused of having a hand eager to accept bribes. 6. mart  v. trade. 7. honors  v. gives respectability to.

PART 2  •  The Tragedy of Julius Caesar, Act IV, Scene iii  625

20. choleric (käl« ß rik) adj.  quick-tempered. 21. bondmen  n. slaves. 22. budge  v.  flinch away from you. 23. observe you  show reverence toward you. 24. crouch  v. bow. 25. testy humor  irritability. 26. digest . . . spleen  eat the poison of your spleen. (The spleen was thought to be the source of anger.)

Cassius. O ye gods, ye gods! Must I endure all this?

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Vocabulary ▶ mirth (m†rª) n. joyfulness; merriment

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27. waspish  adj. badtempered. 28. vaunting (vônt» i¢) n.  boasting. 29. learn of  hear about; learn from. 30. durst  v. dared. 31. moved  v. angered.

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Brutus. All this? Ay, more: fret till your proud heart break. Go show your slaves how choleric20 you are, And make your bondmen21 tremble. Must I budge?22 Must I observe you?23 Must I stand and crouch24 Under your testy humor?25 By the gods, You shall digest the venom of your spleen,26 Though it do split you; for, from this day forth, I’ll use you for my mirth, yea, for my laughter, When you are waspish.27 Cassius.

Is it come to this?

Brutus. You say you are a better soldier: Let it appear so; make your vaunting28 true, And it shall please me well. For mine own part, I shall be glad to learn of29 noble men. Cassius. You wrong me every way; you wrong me, Brutus; I said, an elder soldier, not a better. Did I say, better? Brutus.

If you did, I care not.

Cassius. When Caesar lived, he durst30 not thus have moved31 me. Brutus. Peace, peace, you durst not so have tempted him. 60

Cassius. I durst not? Brutus. No. Cassius. What? Durst not tempt him? Brutus.

Vocabulary ▶ presume (prè zØm») v. rely too much on; take advantage of

Cassius. Do not presume too much upon my love; I may do that I shall be sorry for. 65

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32. drachmas (drak» mßz)  n.  silver coins of ancient Greece. 33. indirection  n. irregular methods.

For your life you durst not.

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Brutus. You have done that you should be sorry for. There is no terror, Cassius, in your threats; For I am armed so strong in honesty That they pass by me as the idle wind, Which I respect not. I did send to you For certain sums of gold, which you denied me; For I can raise no money by vile means. By heaven, I had rather coin my heart And drop my blood for drachmas32 than to wring From the hard hands of peasants their vile trash By any indirection.33 I did send

626  UNIT 4  •  To what extent does experience determine what we perceive?

◀ Critical Viewing

What does this ancient Roman sculpture suggest about the Roman attitude toward war?

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To you for gold to pay my legions,34 Which you denied me. Was that done like Cassius? Should I have answered Caius Cassius so? When Marcus Brutus grows so covetous35 To lock such rascal counters36 from his friends, Be ready, gods, with all your thunderbolts, Dash him to pieces! Cassius.

34. legions  n.  Roman military divisions of several thousand soldiers. 35. covetous (kuv« ßt ßs) adj.  greedy. 36. rascal counters   worthless coins. 37. rived (rìvd) v. broken.

I denied you not.

Brutus. You did. Cassius. I did not. He was but a fool That brought my answer back. Brutus hath rived37 my heart.

Comprehension What is the second accusation Brutus makes against Cassius?

PART 2  •  The Tragedy of Julius Caesar, Act IV, Scene iii  627

85

A friend should bear his friend’s infirmities; But Brutus makes mine greater than they are. Brutus. I do not, till you practice them on me. Cassius. You love me not.

38. alone  adv. only. 39. braved  adj. defied; challenged. 40. Checked like a bondman  scolded like a slave. 41. conned by rote   memorized.

Brutus.

Cassius. A friendly eye could never see such faults. 90

▼ Critical Viewing

In this film still, do Brutus and Cassius look as if they will be able to settle their conflict? Explain.

I do not like your faults.

95

Brutus. A flatterer’s would not, though they do appear As huge as high Olympus. Cassius. Come, Antony, and young Octavius, come, Revenge yourselves alone38 on Cassius, For Cassius is aweary of the world: Hated by one he loves; braved39 by his brother; Checked like a bondman;40 all his faults observed, Set in a notebook, learned and conned by rote41 To cast into my teeth. O, I could weep My spirit from mine eyes! There is my dagger,

628  UNIT 4  •  To what extent does experience determine what we perceive?

100

105

110

And here my naked breast; within, a heart Dearer than Pluto’s mine,42 richer than gold; If that thou be’st a Roman, take it forth. I, that denied thee gold, will give my heart. Strike as thou didst at Caesar; for I know, When thou didst hate him worst, thou lovedst him better Than ever thou lovedst Cassius. Brutus. Sheathe your dagger. Be angry when you will, it shall have scope.43 Do what you will, dishonor shall be humor.44 O Cassius, you are yokèd45 with a lamb That carries anger as the flint46 bears fire, Who, much enforcèd,47 shows a hasty spark, And straight48 is cold again. Cassius. Hath Cassius lived To be but mirth and laughter to his Brutus When grief and blood ill-tempered vexeth him?

115

42. Pluto’s mine  all the riches in the Earth. 43. scope  n.  free play. 44. dishonor . . . humor  I will consider any insults to be just the effect of your irritable disposition. 45. yokèd  adj.  in partnership. 46. flint  n.  hard mineral that, when struck by steel, makes sparks. 47. enforcèd  adj. provoked. 48. straight  adv. immediately.

Read Between the Lines In this situation, what does Cassius’ use of the phrase “his Brutus” suggest?

Brutus. When I spoke that, I was ill-tempered too. Cassius. Do you confess so much? Give me your hand. Brutus. And my heart too. Cassius. Brutus.

O Brutus! What’s the matter?

Cassius. Have not you love enough to bear with me When that rash humor49 which my mother gave me Makes me forgetful? 120

Brutus. Yes, Cassius, and from henceforth, When you are overearnest with your Brutus, He’ll think your mother chides, and leave you so.50

[Enter a Poet, followed by Lucilius, Titinius, and Lucius.]

125

49. humor  n. temperament. 50. your mother . . . so  it is just your inherited disposition and let it go at that.

Poet. Let me go in to see the generals; There is some grudge between ’em; ’tis not meet They be alone. Lucilius. You shall not come to them. Poet. Nothing but death shall stay me. Cassius. How now? What’s the matter?

130

Poet. For shame, you generals! What do you mean? Love, and be friends, as two such men should be; For I have seen more years, I’m sure, than ye.

Comprehension What happens in the quarrel between Cassius and Brutus?

PART 2  •  The Tragedy of Julius Caesar, Act IV, Scene iii  629

51. cynic  n.  rude fellow. 52. Saucy  adj.  rude; insolent. 53. I’ll know . . . time  I’ll accept his eccentricity when he chooses a proper time to exhibit it. 54. jigging  adj. rhyming. 55. Companion  n. fellow (used to show contempt).

Conflict How does the arrival of the poet help end the conflict between Cassius and Brutus?

Cassius. Ha, ha! How vilely doth this cynic51 rhyme! Brutus. Get you hence, sirrah! Saucy52 fellow, hence! Cassius. Bear with him, Brutus, ’tis his fashion. 135

Brutus. I’ll know his humor when he knows his time.53 What should the wars do with these jigging54 fools? Companion,55 hence! Cassius.

Away, away, be gone!

[Exit Poet.]

Brutus. Lucilius and Titinius, bid the commanders Prepare to lodge their companies tonight. 140

Cassius. And come yourselves, and bring Messala with you Immediately to us. [Exit Lucilius and Titinius.] Brutus.

Lucius, a bowl of wine.

[Exit Lucius.]

Cassius. I did not think you could have been so angry. Brutus. O Cassius, I am sick of many griefs. 56. Of your philosophy . . . evils  As a Stoic, Brutus believed that chance misfortunes should not disturb his peace of mind.

145

Cassius. Of your philosophy you make no use, If you give place to accidental evils.56 Brutus. No man bears sorrow better. Portia is dead. Cassius. Ha? Portia? Brutus. She is dead.

LITERATURE IN CONTEXT Humanities Connection Stoicism Brutus follows a philosophy called Stoicism (stò » i siz» ßm), a school of thought established by the ancient Greek thinker Zeno sometime after 312 B.C. Stoicism stresses the following ideas: • The universe is ruled by unchanging natural laws. • A wise person lives a virtuous life, using reason to understand natural laws and to act accordingly. • A wise person is not ruled by his or her emotions. • Using reason, a wise person distinguishes between what is truly in his or her power and what is not. • A wise person does not allow events that he or she does not control—even the loss of a loved one—to affect him or her.

Connect to the Literature How do Brutus’ Stoic beliefs affect his actions in Act IV?

630  UNIT 4  •  To what extent does experience determine what we perceive?

150

155

Cassius. How scaped I killing when I crossed you so?57 O insupportable and touching58 loss! Upon59 what sickness?

57. How scaped . . . you so?  How did I escape being killed when I opposed you so? 58. touching  adj. deeply wounding. 59. Upon  prep.  as a result of.

Brutus. Impatient of my absence, And grief that young Octavius with Mark Antony Have made themselves so strong—for with her death That tidings60 came—with this she fell distract,61 And (her attendants absent) swallowed fire.

Conflict With what internal conflict has Brutus been struggling?

Cassius. And died so? Brutus.

Even so.

Cassius.

O ye immortal gods!

[Enter Lucius, with wine and tapers.] Brutus. Speak no more of her. Give me a bowl of wine. In this I bury all unkindness, Cassius. 160

[Drinks]

Cassius. My heart is thirsty for that noble pledge. Fill, Lucius, till the wine o’erswell the cup; I cannot drink too much of Brutus’ love.

60. with . . . tidings came   That is, Brutus received two messages at the same time: news of Portia’s death and news of Octavius and Antony’s success. 61. fell distract  became distraught.

[Drinks. Exit Lucius.] [Enter Titinius and Messala.] Brutus. Come in, Titinius! Welcome, good Messala. Now sit we close about this taper here, And call in question62 our necessities.

62. call in question  examine.

Cassius. Portia, art thou gone? 165

170

Brutus. No more, I pray you. Messala, I have here receivèd letters That young Octavius and Mark Antony Come down upon us with a mighty power,63 Bending their expedition toward Philippi.64 Messala. Myself have letters of the selfsame tenure.65 Brutus. With what addition? Messala. That by proscription and bills of outlawry66 Octavius, Antony, and Lepidus Have put to death an hundred senators.

175

Brutus. Therein our letters do not well agree. Mine speak of seventy senators that died By their proscriptions, Cicero being one. Cassius. Cicero one?

63. power  n. army. 64. Bending . . . Philippi (fi lip» ì)  directing their rapid march toward Philippi, a city in Macedonia. 65. selfsame tenure  same message. 66. proscription . . . outlawry  proclamation of death sentences and lists of those condemned.

Comprehension What has happened to Brutus’ wife, Portia?

PART 2  •  The Tragedy of Julius Caesar, Act IV, Scene iii  631

Read Between the Lines In this situation, why might Messala ask Brutus about news of Portia?

180

Messala. Cicero is dead, And by that order of proscription. Had you your letters from your wife, my lord? Brutus. No, Messala. Messala. Nor nothing in your letters writ of her? Brutus. Nothing, Messala. Messala.

That methinks is strange.

Brutus. Why ask you? Hear you aught67 of her in yours?

67. aught (ôt) n. anything at all. 185

Messala. No, my lord. Brutus. Now as you are a Roman, tell me true. Messala. Then like a Roman bear the truth I tell, For certain she is dead, and by strange manner.

190

Brutus. Why, farewell, Portia. We must die, Messala. With meditating that she must die once, I have the patience to endure it now. Messala. Even so great men great losses should endure.

68. have . . . art  have as much Stoicism in theory. 69. to our work alive  Let us go about the work we have to do as living men. 70. presently  adv.  immediately.

Cassius. I have as much of this in art68 as you, But yet my nature could not bear it so. 195

Brutus. Well, to our work alive.69 What do you think Of marching to Philippi presently?70 Cassius. I do not think it good. Brutus.

71. offense  n. harm. 72. of force  of necessity. 73. Do stand . . . affection  support us only out of fear of force. 74. grudged us contribution   given us aid and supplies grudgingly. 75. shall make . . . up  will add more to their numbers. 76. new-added  reinforced.

200

205

210

Your reason?

Cassius. This it is: ’Tis better that the enemy seek us; So shall he waste his means, weary his soldiers, Doing himself offense,71 whilst we, lying still, Are full of rest, defense, and nimbleness. Brutus. Good reasons must of force72 give place to better. The people ’twixt Philippi and this ground Do stand but in a forced affection;73 For they have grudged us contribution.74 The enemy, marching along by them, By them shall make a fuller number up,75 Come on refreshed, new-added76 and encouraged; From which advantage shall we cut him off If at Philippi we do face him there, These people at our back.

632  UNIT 4  •  To what extent does experience determine what we perceive?

Cassius.

215

220

Hear me, good brother.

Brutus. Under your pardon.77 You must note beside That we have tried the utmost of our friends, Our legions are brimful, our cause is ripe. The enemy increaseth every day; We, at the height, are ready to decline. There is a tide in the affairs of men Which, taken at the flood, leads on to fortune; Omitted,78 all the voyage of their life Is bound79 in shallows and in miseries. On such a full sea are we now afloat, And we must take the current when it serves, Or lose our ventures.80

77. Under your pardon   excuse me.

Read Between the Lines What does Brutus’ speech indicate about the chances that he and Cassius will lose the war?

78. Omitted  adj. neglected. 79. bound  adj. confined. 80. ventures  n.  things put at risk in hope of profit—as a merchant risks goods in sending them by sea. 81. with your will  as you wish. 82. niggard . . . rest  satisfy stingily with a short sleep.

Cassius. Then, with your will,81 go on; We’ll along ourselves and meet them at Philippi. 225

Brutus. The deep of night is crept upon our talk, And nature must obey necessity, Which we will niggard with a little rest.82 There is no more to say? Cassius. No more. Good night. Early tomorrow will we rise and hence.83

83. hence  leave.

[Enter Lucius.] 230

Brutus. Lucius, my gown.84 Farewell, good Messala. Good night, Titinius. Noble, noble Cassius, Good night, and good repose.

[Exit Lucius.]

Cassius. O my dear brother, This was an ill beginning of the night. Never come85 such division ’tween our souls! Let it not, Brutus.

84. gown  n.  dressing gown; robe.

85. Never come  may there never again come.

[Enter Lucius, with the gown.] 235

Brutus.

Everything is well. 86. instrument  n. lute (probably), a small stringed instrument related to the guitar.

Cassius. Good night, my lord. Brutus.

Good night, good brother.

Titinius, Messala. Good night, Lord Brutus. Brutus.

Farewell, every one. [Exit]

Give me the gown. Where is thy instrument?86

Comprehension What do Brutus and Cassius plan to do?

PART 2  •  The Tragedy of Julius Caesar, Act IV, Scene iii  633

Lucius. Here in the tent. 87. knave (nàv) n. servant. 88. o’erwatched  adj. weary with too much watchfulness.

240

Brutus. What, thou speak’st drowsily? Poor knave,87 I blame thee not; thou art o’erwatched.88 Call Claudius and some other of my men; I’ll have them sleep on cushions in my tent. Lucius. Varro and Claudius!

[Enter Varro and Claudius.] Varro. Calls my lord? 245

89. raise  v. wake. 90. watch your pleasure  stay alert for your command. 91. otherwise bethink me  change my mind.

Brutus. I pray you, sirs, lie in my tent and sleep. It may be I shall raise89 you by and by On business to my brother Cassius. Varro. So please you, we will stand and watch your pleasure.90

250

Brutus. I will not have it so; lie down, good sirs; It may be I shall otherwise bethink me.91 [Varro and Claudius lie down.] Look. Lucius, here’s the book I sought for so; I put it in the pocket of my gown. Lucius. I was sure your lordship did not give it me.

92. touch . . . a strain or two?  play a melody or two on your instrument. 93. an’t  if it.

255

Brutus. Bear with me, good boy, I am much forgetful. Canst thou hold up thy heavy eyes awhile, And touch thy instrument a strain or two?92 Lucius. Ay, my lord, an’t93 please you. Brutus. It does, my boy. I trouble thee too much, but thou art willing. Lucius. It is my duty, sir.

94. young bloods  young bodies.

260

Brutus. I should not urge thy duty past thy might; I know young bloods94 look for a time of rest. Lucius. I have slept, my lord, already.

265

Brutus. It was well done, and thou shalt sleep again; I will not hold thee long. If I do live, I will be good to thee.

[Music, and a song] 95. murd’rous  adj. deathlike. 96. mace (màs) n.  staff of office (an allusion to the practice of tapping a person on the shoulder with a mace when arresting him).

270

This is a sleepy tune. O murd’rous95 slumber! Layest thou thy leaden mace96 upon my boy, That plays thee music? Gentle knave, good night; I will not do thee so much wrong to wake thee. If thou dost nod, thou break’st thy instrument;

634  UNIT 4  •  To what extent does experience determine what we perceive?

I’ll take it from thee; and, good boy, good night. Let me see, let me see; is not the leaf97 turned down Where I left reading? Here it is, I think. [Enter the Ghost of Caesar.] 275

280

How ill this taper burns. Ha! Who comes here? I think it is the weakness of mine eyes That shapes this monstrous apparition.98 It comes upon99 me. Art thou anything? Art thou some god, some angel, or some devil, That mak’st my blood cold, and my hair to stare?100 Speak to me what thou art.

97. leaf  n. page. 98. monstrous apparition  ominous ghost. 99. upon  prep. toward. 100. stare  n.  stand on end.

Ghost. Thy evil spirit, Brutus. Brutus.

Why com’st thou?

Ghost. To tell thee thou shalt see me at Philippi. Brutus. Well; then I shall see thee again? Ghost. Ay, at Philippi. 285

Brutus. Why, I will see thee at Philippi then. [Exit Ghost.]

Read Between the Lines Brutus is planning to march to battle at Philippi. In this situation, what might the ghost’s warning mean?

Now I have taken heart thou vanishest. Ill spirit, I would hold more talk with thee. Boy! Lucius! Varro! Claudius! Sirs, awake! Claudius! 290

Lucius. The strings, my lord, are false.101

101. false adj. out of tune.

Brutus. He thinks he still is at his instrument. Lucius, awake!

Conflict What internal conflict might the ghost’s warning create for Brutus?

Lucius. My lord? Brutus. Didst thou dream, Lucius, that thou so criedst out? 295

Lucius. My lord, I do not know that I did cry. Brutus. Yes, that thou didst. Didst thou see anything? Lucius. Nothing, my lord. brutus.

Sleep again, Lucius. Sirrah Claudius! [To Varro] Fellow thou, awake!

300

Varro. My lord? Claudius. My lord? Brutus. Why did you so cry out, sirs, in your sleep?

Comprehension What frightens Brutus as he prepares to read a book?

PART 2  •  The Tragedy of Julius Caesar, Act IV, Scene iii  635

Both. Did we, my lord? Brutus. 102. commend me  carry my greetings. 103. set on . . . before   advance his troops early, before me.

Ay. Saw you anything?

Varro. No, my lord, I saw nothing. Claudius. 305

Nor I, my lord.

Brutus. Go and commend me102 to my brother Cassius; Bid him set on his pow’rs betimes before,103 And we will follow. Both.

It shall be done, my lord.

[Exit]

◀ Critical Viewing

What does this ancient Roman coin suggest about how war was fought at the time?

Language Study Vocabulary The words below appear in The Tragedy of Julius Caesar, Act IV. For each word, write a definition in your own words. Then, write a brief paragraph in which you use the words correctly. legacies   chastisement   mirth    rash   condemned WORD STUDY

Word Study

The Latin root -sum- means “to take” or “to use.” In the play, Cassius tells Brutus not to presume upon his friendship, or take for granted his good will.

Part A Explain how the Latin root -sum- contributes to the meanings of these words: consume, resume, and sumptuous. Consult a dictionary if necessary. Part B Use the context of the sentences and what you know about the Latin root -sum- to explain your answer to each question. 1. If Rafael assumes the role of class president, has he stepped down from the position? 2. Does her presumptuous remark reveal her modesty?

636  UNIT 4  •  To what extent does experience determine what we perceive?

The Tragedy of Julius Caesar, Act IV

Close Reading Activities Act IV

Literary Analysis Key Ideas and Details 1. (a) In Scene i, what opinion of Lepidus does Antony express? (b) Infer: Why is Octavius surprised to hear this opinion? Explain. (c) Compare and Contrast: In what way is Antony’s behavior toward Lepidus similar to his manipulation of the crowd at Caesar’s funeral in Act III? Explain.

William Shakespeare

546  UNIT 4  •  To what extent does experience determine what we perceive?

2. (a) What are two accusations Brutus makes against Cassius in Scene iii? (b) Compare and Contrast: What differences in their characters does their argument emphasize? Explain, citing textual details for support. 3. (a) In Scene iii, lines 200–220, what does Brutus say about Antony’s army compared with his own? (b) Interpret: In Brutus’ opinion, why should the fight begin immediately? (c) Analyze: What deeper awareness does Brutus seem to have? Explain. 4. Read Between the Lines (a) To whom is Brutus referring as “a brother” in Scene ii, lines 38–39? (b) What does he mean in these lines? 5. Read Between the Lines (a) What does Cassius say in Scene iii, lines 92–98? (b) What situation does he describe? (c) Explain the unspoken significance of his words.

Craft and Structure 6. Conflict (a) Using a diagram like the one shown, identify two external conflicts shown or referred to in Act IV. (b) Describe two internal conflicts Brutus experiences in Act IV.

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External Conflict 1 Between: Caused by External Conflict 2 Between: Caused by Internal Conflict 1 Caused by Internal Conflict 2 Caused by

7. Conflict (a) Explain the connection Brutus makes in Scene iii, lines 18–28 between his reasons for joining the conspirators and his conflict with Cassius. (b) Do you think Brutus will feel an internal conflict over his decision to join the conspirators? Explain, citing evidence from the text that helped you form your response.

Integration of Knowledge and Ideas 8. Make a Judgment (a) Which character in Act IV do you think would make the best leader for Rome? Explain and support your judgment with details from the text. (b) Share your ideas in a small group discussion. As a group, come to an agreement about which character would make the best leader and present your choices and reasons to the class. 9.

To what extent does experience determine what we perceive? (a) How do Brutus’ past actions contribute to the appearance of Caesar’s ghost? (b) What does Caesar’s ghost represent? Explain, citing details from the play to support your response.

ACADEMIC VOCABULARY As you write and speak about The Tragedy of Julius Caesar, use the words related to experience and perceptions that you explored on page 517 of this book.

PART 2  •  Close Reading Activities  637

Building Knowledge To what extent does experience determine what we perceive? Explore the Big Question as you read The Tragedy of Julius Caesar, Act V. Consider how characters’ perceptions lead to a tragic end.

CLOSE READING FOCUS Key Ideas and Details: Compare and Contrast Characters Shakespeare often emphasizes the important qualities of one character by presenting a foil, another character with strongly contrasting qualities. When reading Shakespearean drama, you can often gain understanding by comparing and contrasting characters. Look for similarities and differences in the characters’ personalities, situations, behaviors, and attitudes.

Craft and Structure: Tragic Heroes In ancient Greek drama, tragic heroes are characters of noble birth who suffer a catastrophe. The hero’s choices leading to the catastrophe may reflect a personal shortcoming, such as excessive pride, called a tragic flaw. While Shakespeare incorporates these traditional elements, he develops them in new ways. • He adds complexity to his heroes, who often suffer hesitation or doubt. • He presents a character’s inner turmoil directly through devices like the soliloquy, a speech in which a character thinks aloud. • He focuses on the choices characters make rather than on fate. • He addresses the difference between the reasons for an action and its outcome. For example, Brutus acts for reasons of honor, but in a world full of dishonor, the results are disastrous.

Vocabulary The words below are key to understanding the text that follows. Copy the words into your notebook. For each word, write a sentence with context clues that suggest the meaning of the word. fawned misconstrued

presage meditates

638  UNIT 4  •  To what extent does experience determine what we perceive?

demeanor disconsolate

The Tragedy of Julius Caesar, Act V Act V

CLOSE READING MODEL The passage below is from Shakespeare’s The Tragedy of Julius Caesar, Act V. The annotations to the right of the passage show ways in which you can use close reading skills to compare and contrast characters and analyze tragic heroes.

William Shakespeare

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from The Tragedy of Julius Caesar, Act V Clitus. What ill request did Brutus make to thee? Dardanius. To kill him, Clitus. Look, he meditates. Clitus. Now is that noble vessel full of grief, That it runs over even at his eyes.1 Brutus. Come hither, good Volumnius; list a word. Volumnius. What says my lord? Why this, Volumnius:

Brutus.

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Compare and Contrast Characters 1  In this scene, Brutus asks his companions to help him end his life. The companions discuss Brutus, telling the audience that he is weeping: His grief “runs over even at his eyes.” The companions’ sympathetic but more distant emotions serve to emphasize the depth of Brutus’ despair.

The ghost of Caesar hath appeared to me Two several times by night; at Sardis once,

Tragic Heroes

And this last night here in Philippi fields.

2  Literally haunted by his guilt and shame, Brutus sits in judgment of his own actions. He recognizes that by acting against Caesar, he has fallen into dishonor. Although Brutus is not the play’s title character, a reader could argue that he is its true tragic hero— the noble figure who experiences a catastrophic downfall.

I know my hour is come. Volumnius.

2

Not so, my lord.

Brutus. Nay, I am sure it is, Volumnius. Thou seest the world, Volumnius, how it goes; Our enemies have beat us to the pit.

[Low calls to arms]

It is more worthy to leap in ourselves Than tarry till they push us.3 Good Volumnius, Thou know’st that we two went to school together; Even for that our love of old, I prithee Hold thou my sword-hilts whilst I run on it. Volumnius. That’s not an office for a friend, my lord.

[Call to arms still]

Clitus. Fly, fly, my lord, there is no tarrying here.

Tragic Heroes 3  After a stainless life, Brutus says he would rather die than wait until others exact their revenge for Caesar’s death. However, notice that in his disgrace and shame, the noble Brutus still seeks a “worthy” path.

PART 2  •  Building Knowledge: The Tragedy of Julius Caesar, Act V  639

Review and Anticipate By the end of Act IV, Cassius and Brutus have patched up their quarrel. Brutus persuades Cassius to agree to his strategy—taking the battle to the enemy. He reasons that they should march to the city of Philippi and attack before Octavius and Antony swell their forces with new recruits. The act ends ominously as Brutus is visited by Caesar’s ghost. Before disappearing, the ghost tells Brutus that they will meet again at Philippi. As Act V opens, the two armies are poised for battle on the plains of Philippi. Nothing less than the future of Rome is at stake.

▶ Critical Viewing

Does Brutus’ personality, as suggested by this statue, fit with his personality in the story? Explain.

640  UNIT 4  •  To what extent does experience determine what we perceive?

Act V Scene i. The plains of Philippi. [Enter Octavius, Antony, and their Army.]

5

10

Octavius. Now, Antony, our hopes are answerèd; You said the enemy would not come down, But keep the hills and upper regions. It proves not so; their battles1 are at hand; They mean to warn2 us at Philippi here, Answering before we do demand of them.3

1. battles  n. armies. 2. warn  v. challenge. 3. Answering . . . of them   appearing in opposition to us before we challenge them. 4. am in their bosoms  know what they are thinking. 5. Wherefore  conj. why. 6. fearful bravery  show of magnificence and pretend courage concealing fear. 7. face  n. appearance. 8. fasten in our thoughts   convince us.

Antony. Tut, I am in their bosoms,4 and I know Wherefore5 they do it. They could be content To visit other places, and come down With fearful bravery,6 thinking by this face7 To fasten in our thoughts8 that they have courage; But ’tis not so.

[Enter a Messenger.]

15

Messenger. Prepare you, generals, The enemy comes on in gallant show; Their bloody sign9 of battle is hung out, And something to be done immediately.

Compare and Contrast Characters What contrast between Octavius and Antony is suggested by their opening speeches?

Antony. Octavius, lead your battle softly10 on Upon the left hand of the even11 field. Octavius. Upon the right hand I; keep thou the left. Antony. Why do you cross me in this exigent?12 20

Octavius. I do not cross you; but I will do so.

[Drum. Enter Brutus, Cassius, and their Army; Lucilius, Titinius, Messala, and others.] Brutus. They stand, and would have parley.13 Cassius. Stand fast, Titinius, we must out and talk. Octavius. Mark Antony, shall we give sign of battle? 25

[March]

9. bloody sign  red flag. 10. softly  adv. slowly. 11. even  adj. level. 12. exigent  n. critical situation. 13. parley  n. conference between enemies. 14. answer on their charge   meet them when they attack. 15. Make forth  go forward.

Antony. No, Caesar, we will answer on their charge.14 Make forth;15 the generals would have some words. Octavius. Stir not until the signal. Brutus. Words before blows; is it so, countrymen? Octavius. Not that we love words better, as you do.

Comprehension What news does the messenger bring Octavius and Antony?

PART 2  •  The Tragedy of Julius Caesar, Act V, Scene i  641

Brutus. Good words are better than bad strokes, Octavius. 30

16. posture  n. quality. 17. Hybla bees  bees from the town of Hybla in Sicily, noted for their sweet honey.

Vocabulary ▶ fawned (fônd) v. flattered; acted with excessive concern for the wishes and moods of another, as a servant might 18. showed your teeth  grinned. 19. bondmen  n. slaves. 20. cur  n. dog. 21. If Cassius might have ruled  if Cassius had had his way when he urged that Antony be killed.

Tragic Heroes Which of Brutus’ earlier decisions would Cassius call tragic?

22. cause  n.  business at hand. 23. proof  n. test. 24. goes up  goes into its scabbard. 25. till another Caesar . . . traitors  until I, another Caesar, have also been killed by you. 26. noblest of thy strain  best of your family. 27. peevish  silly. 28. worthless  adj. unworthy. 29. a masker and a reveler   one who attends masquerades and parties; Antony.

Antony. In your bad strokes, Brutus, you give good words; Witness the hole you made in Caesar’s heart, Crying “Long live! Hail, Caesar!” Cassius. Antony, The posture16 of your blows are yet unknown; But for your words, they rob the Hybla bees,17 And leave them honeyless.

35

Antony.

Not stingless too.

Brutus. O, yes, and soundless too; For you have stol’n their buzzing, Antony, And very wisely threat before you sting. 40

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Antony. Villains! You did not so, when your vile daggers Hacked one another in the sides of Caesar. You showed your teeth18 like apes, and fawned like hounds, And bowed like bondmen,19 kissing Caesar’s feet; Whilst damnèd Casca, like a cur,20 behind Struck Caesar on the neck. O you flatterers! Cassius. Flatterers! Now, Brutus, thank yourself; This tongue had not offended so today, If Cassius might have ruled.21 Octavius. Come, come, the cause.22 If arguing make us sweat, The proof23 of it will turn to redder drops. Look, I draw a sword against conspirators. When think you that the sword goes up24 again? Never, till Caesar’s three and thirty wounds Be well avenged; or till another Caesar Have added slaughter to the sword of traitors.25 Brutus. Caesar, thou canst not die by traitors’ hands, Unless thou bring’st them with thee. Octavius. So I hope. I was not born to die on Brutus’ sword.

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Brutus. O, if thou wert the noblest of thy strain,26 Young man, thou couldst not die more honorable. Cassius. A peevish27 schoolboy, worthless28 of such honor, Joined with a masker and a reveler.29 Antony. Old Cassius still! Octavius. Come, Antony; away!

642  UNIT 4  •  To what extent does experience determine what we perceive?

65

Defiance, traitors, hurl we in your teeth. If you dare fight today, come to the field; If not, when you have stomachs.30 [Exit Octavius, Antony, and Army.] Cassius. Why, now blow wind, swell billow, and swim bark!31 The storm is up, and all is on the hazard.32

30. stomachs  appetites for battle. 31. bark  ship. 32. on the hazard  at stake.

Brutus. Ho, Lucilius, hark, a word with you. [Lucilius and Messala stand forth.] Lucilius.

My lord? [Brutus and Lucilius converse apart.]

Cassius. Messala. Messala. 70

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What says my general?

Cassius. Messala, This is my birthday; as this very day Was Cassius born. Give me thy hand, Messala: Be thou my witness that against my will (As Pompey was)33 am I compelled to set34 Upon one battle all our liberties. You know that I held Epicurus strong,35 And his opinion; now I change my mind. And partly credit things that do presage. Coming from Sardis, on our former ensign36 Two mighty eagles fell,37 and there they perched, Gorging and feeding from our Soldiers’ hands, Who to Philippi here consorted38 us. This morning are they fled away and gone, And in their steads do ravens, crows, and kites39 Fly o’er our heads and downward look on us As we were sickly prey; their shadows seem A canopy most fatal,40 under which Our army lies, ready to give up the ghost. Messala. Believe not so.

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Cassius. I but believe it partly, For I am fresh of spirit and resolved To meet all perils very constantly.41 Brutus. Even so, Lucilius. Cassius. Now, most noble Brutus, The gods today stand friendly, that we may, Lovers42 in peace, lead on our days to age!

33. As Pompey was  Against his own judgment, Pompey was urged to do battle against Caesar. The battle resulted in Pompey’s defeat and murder. 34. set  stake. 35. held Epicurus strong  believed in Epicurus’ philosophy that the gods do not interest themselves in human affairs and that omens are merely superstitions.

◀ Vocabulary presage (prè sàj») v. 

give a warning sign about a future event 36. former ensign (en» sìn«)  standard-bearer (soldier carrying a flag) farthest in front. 37. fell  swooped down. 38. consorted  v.  accompanied. 39. ravens, crows, and kites  scavenger birds, said to gather before a battle. 40. A canopy most fatal  a rooflike covering foretelling death. 41. very constantly  most resolutely. 42. Lovers  n.  true friends.

Comprehension What is Cassius’ complaint about the battle they are about to fight?

PART 2  •  The Tragedy of Julius Caesar, Act V, Scene i  643

43. rests still incertain  always remain uncertain. 44. reason . . . befall  reason about the worst that may happen. 45. that philosophy  here, Stoicism. 46. Cato  Marcus Porcius Cato (Cato the Younger) supported Pompey in his quarrel with Caesar and killed himself after Pompey’s defeat. 47. so to prevent . . . life  thus to anticipate the natural end of life. 48. stay the providence   await the ordained fate.

Compare and Contrast Characters Contrast the outlook Brutus expresses here with Cassius’ misgivings in lines 70–88. 49. in triumph  as a captive in the victor’s procession. 50. Thorough  prep. through.

Tragic Heroes What details of Brutus’ preoccupation with honor, expressed here, reflect his decision to join the conspirators?

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Vocabulary ▶ demeanor (di mèn» ßr) n.  way of conducting oneself; behavior

Brutus. Even by the rule of that philosophy45 By which I did blame Cato46 for the death Which he did give himself; I know not how, But I do find it cowardly and vile, For fear of what might fall, so to prevent The time of life,47 arming myself with patience To stay the providence48 of some high powers That govern us below. Cassius. Then, if we lose this battle, You are contented to be led in triumph49 Thorough50 the streets of Rome?

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1. bills  written orders. 2. other side  wing of the army commanded by Cassius. 3. cold demeanor (di mèn» ßr) lack of spirit in their conduct.

But since the affairs of men rests still incertain,43 Let’s reason with the worst that may befall.44 If we do lose this battle, then is this The very last time we shall speak together. What are you then determinèd to do?

Brutus. No, Cassius, no; think not, thou noble Roman, That ever Brutus will go bound to Rome; He bears too great a mind. But this same day Must end that work the ides of March begun; And whether we shall meet again I know not. Therefore our everlasting farewell take. Forever, and forever, farewell, Cassius! If we do meet again, why, we shall smile; If not, why then this parting was well made. Cassius. Forever, and forever, farewell, Brutus! If we do meet again, we’ll smile indeed; If not, ’tis true this parting was well made. Brutus. Why then, lead on. O, that a man might know The end of this day’s business ere it come! But it sufficeth that the day will end, And then the end is known. Come, ho! Away! 

[Exit]

Scene ii. The field of battle. [Call to arms sounds. Enter Brutus and Messala.] Brutus. Ride, ride, Messala, ride, and give these bills1 Unto the legions on the other side.2 [Loud call to arms] Let them set on at once; for I perceive But cold demeanor3 in Octavius’ wing,

644  UNIT 4  •  To what extent does experience determine what we perceive?

LITERATURE IN CONTEXT History Connection Roman Triumphs Brutus and Cassius reflect on the humiliation they will experience if they are defeated and brought in triumph to Rome. A triumph, held to celebrate a general’s victory, included these events: • Temples were decorated and sacrifices were held. • The victorious general and his troops marched through the city to the Capitol, preceded by the Roman Senators and trumpeters. • The triumphant general, dressed in a royal purple toga and holding a laurel branch, rode in a golden chariot drawn by four white horses. • On display were the spoils of war, including carts full of treasure, and exotic animals. • Captive enemy leaders—and even their children—were marched in front of the general. • The people of Rome gathered to view and cheer the spectacle.

Connect to the Literature

Why would Cassius and Brutus wish to escape at any cost being led as prisoners in a triumph?

5

And sudden push gives them the overthrow,4 Ride, ride, Messala! Let them all come down.5[Exit]

Scene iii. The field of battle.

4. sudden push . . . overthrow  sudden attack will defeat them. 5. Let . . . down  attack all at once.

[Calls to arms sound. Enter Cassius and Titinius.] Cassius. O, look, Titinius, look, the villains1 fly! Myself have to mine own turned enemy.2 This ensign here of mine was turning back; I slew the coward, and did take it3 from him. 5

Titinius. O Cassius, Brutus gave the word too early, Who, having some advantage on Octavius, Took it too eagerly; his Soldiers fell to spoil,4 Whilst we by Antony are all enclosed.

[Enter Pindarus.] 10

Pindarus. Fly further off, my lord, fly further off! Mark Antony is in your tents, my lord. Fly, therefore, noble Cassius, fly far off!

1. villains  here, cowards among his own men. 2. Myself . . . enemy  I have become an enemy to my own Soldiers. 3. it  here, the ensign’s banner. 4. fell to spoil  began to loot.

Comprehension How well is the battle going for Cassius and his forces?

PART 2  •  The Tragedy of Julius Caesar, Act V, Scene iii  645

Cassius. This hill is far enough. Look, look, Titinius! Are those my tents where I perceive the fire? Titinius. They are, my lord. 5. hide  sink.

6. even with a thought  as quick as a thought. 7. thick  dim. 8. Regard  observe.

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Cassius. Titinius, if thou lovest me, Mount thou my horse and hide5 thy spurs in him Till he have brought thee up to yonder troops And here again, that I may rest assured Whether yond troops are friend or enemy. Titinius. I will be here again even with a thought.6

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[Exit]

Cassius. Go, Pindarus, get higher on that hill; My sight was ever thick.7 Regard8 Titinius, And tell me what thou not’st about the field. [Exit Pindarus.]

9. his compass  its full course.

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This day I breathèd first. Time is come round, And where I did begin, there shall I end. My life is run his compass.9 Sirrah, what news? Pindarus. [Above] O my lord! Cassius. What news?

10. make . . . spur  ride toward him at top speed. 11. light  dismount from their horses. 12. ta’en  taken; captured.

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Pindarus. [Above] Titinius is enclosèd round about With horsemen that make to him on the spur;10 Yet he spurs on. Now they are almost on him. Now, Titinius! Now some light.11 O, he lights too! He’s ta’en!12[Shout] And, hark! They shout for joy. Cassius. Come down; behold no more. O, coward that I am, to live so long, To see my best friend ta’en before my face!

[Enter Pindarus.]

13. swore thee . . . thy life  made you promise when I spared your life. 14. search  penetrate. 15. Stand not  do not wait.

Tragic Heroes What heroic qualities does Cassius show?

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Come hither, sirrah. In Parthia did I take thee prisoner; And then I swore thee, saving of thy life,13 That whatsoever I did bid thee do, Thou shouldst attempt it. Come now, keep thine oath. Now be a freeman, and with this good sword, That ran through Caesar’s bowels, search14 this bosom. Stand not15 to answer. Here, take thou the hilts, And when my face is covered, as ’tis now, Guide thou the sword—Caesar, thou art revenged, Even with the sword that killed thee. [Dies]

646  UNIT 4  •  To what extent does experience determine what we perceive?

▲ Critical Viewing

Can you tell whether the horseman in this picture is the friend or enemy of the foot soldiers? Explain what your answer suggests about the conclusions Cassius draws in battle.

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Pindarus. So, I am free; yet would not so have been, Durst16 I have done my will. O Cassius! Far from this country Pindarus shall run, Where never Roman shall take note of him.

[Enter Titinius and Messala.] Messala. It is but change,17 Titinius; for Octavius Is overthrown by noble Brutus’ power, As Cassius’ legions are by Antony. Titinius. These tidings18 will well comfort Cassius. Messala. Where did you leave him?

16. Durst  if I had dared.

[Exit] 17. change  an exchange. 18. these tidings  n. this news.

Comprehension What does Cassius think has happened to Titinius?

PART 2  •  The Tragedy of Julius Caesar, Act V, Scene iii  647

Vocabulary ▶ disconsolate (dis kän» sß lit) adj.  so unhappy that nothing brings comfort

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Titinius. All disconsolate, With Pindarus his bondman, on this hill. Messala. Is not that he that lies upon the ground? Titinius. He lies not like the living. O my heart! Messala. Is not that he?

19. dews  n.  in Shakespeare’s day, dew was considered harmful to the health 20. Mistrust . . . success  fear that I would not succeed.

Tragic Heroes According to Messala, what flaw doomed Cassius? 21. Melancholy’s child  one of gloomy temperament. 22. Why dost . . . are not?  Why do you fill the receptive imagination of men with false ideas? 23. conceived  v. created. 24. mother . . . thee  Cassius (in this case), who conceived the error. 25. envenomèd poisoned. 26. Hie  v. hurry. 27. brave  adj. noble.

Vocabulary ▶ misconstrued (mis« kßn strØd») v.  misinterpreted 28. hold thee  wait a moment. 29. apace  adv. quickly. 30. regarded  v. honored. 31. By your leave  with your permission. 32. part  n.  role; duty.

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Titinius. No, this was he, Messala, But Cassius is no more. O setting sun, As in thy red rays thou dost sink to night, So in his red blood Cassius’ day is set. The sun of Rome is set. Our day is gone; Clouds, dews,19 and dangers come; our deeds are done! Mistrust of my success20 hath done this deed. Messala. Mistrust of good success hath done this deed. O hateful Error, Melancholy’s child,21 Why dost thou show to the apt thoughts of men The things that are not?22 O Error, soon conceived,23 Thou never com’st unto a happy birth, But kill’st the mother that engend’red thee!24 Titinius. What, Pindarus! Where art thou, Pindarus?

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Messala. Seek him, Titinius, whilst I go to meet The noble Brutus, thrusting this report Into his ears. I may say “thrusting” it; For piercing steel and darts envenomèd25 Shall be as welcome to the ears of Brutus As tidings of this sight. Titinius. Hie26 you, Messala, And I will seek for Pindarus the while. [Exit Messala.] 27 Why didst thou send me forth, brave Cassius? Did I not meet thy friends, and did not they Put on my brows this wreath of victory, And bid me give it thee? Didst thou not hear their shouts? Alas, thou hast misconstrued everything! But hold thee,28 take this garland on thy brow; Thy Brutus bid me give it thee, and I Will do his bidding. Brutus, come apace,29 And see how I regarded30 Caius Cassius. By your leave,31 gods. This is a Roman’s part:32 Come, Cassius’ sword, and find Titinius’ heart. [Dies]

[Call to arms sounds. Enter Brutus, Messala, Young Cato, Strato, Volumnius, and Lucilius.]

648  UNIT 4  •  To what extent does experience determine what we perceive?

Brutus. Where, where, Messala, doth his body lie? Messala. Lo, yonder, and Titinius mourning it. Brutus. Titinius’ face is upward. Cato. 95

33. own proper entrails  very own inner organs.

He is slain.

Brutus. O Julius Caesar, thou art mighty yet! Thy spirit walks abroad, and turns our swords In our own proper entrails.33[Low calls to arms] Cato. Brave Titinius! Look, whe’r34 he have not crowned dead Cassius.

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Brutus. Are yet two Romans living such as these? The last of all the Romans, fare thee well! It is impossible that ever Rome Should breed thy fellow.35 Friends, I owe moe36 tears To this dead man than you shall see me pay. I shall find time, Cassius; I shall find time. Come, therefore, and to Thasos37 send his body; His funerals shall not be in our camp, Lest it discomfort us.38 Lucilius, come, And come, young Cato; let us to the field. Labeo and Flavius set our battles39 on. ’Tis three o’clock; and, Romans, yet ere night We shall try fortune in a second fight.

34. whe’r  whether.

Tragic Heroes What noble or heroic qualities does Brutus display in his reactions to Cassius’ death?

35. fellow  equal. 36. moe  n. more. 37. Thasos  an island not far from Philippi.

[Exit]

38. discomfort us  discourage our Soldiers. 39. battles  armies.

Scene iv. The field of battle. [Call to arms sounds. Enter Brutus, Messala, Young Cato, Lucilius, and Flavius.] Brutus. Yet, countrymen, O, yet hold up your heads! [Exit, with followers] cato.

5

What bastard1 doth not? Who will go with me? I will proclaim my name about the field. I am the son of Marcus Cato,2 ho! A foe to tyrants, and my country’s friend. I am the son of Marcus Cato, ho!

1. bastard  person who is not a true Roman. 2. Marcus Cato  Brutus’ wife’s father. 3. And I am Brutus  Lucilius impersonates Brutus in order to protect him and confuse the enemy.

[Enter Soldiers and fight.] Lucilius. And I am Brutus, Marcus Brutus, I; Brutus, my country’s friend; know me for Brutus!3 [Young Cato falls.] O young and noble Cato, art thou down?

Comprehension What error has led to Cassius’ and Titinius’ deaths?

PART 2  •  The Tragedy of Julius Caesar, Act V, Scene iv  649

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Why, now thou diest as bravely as Titinius, And mayst be honored, being Cato’s son. First Soldier. Yield, or thou diest.

4. Only . . . die  I will surrender only to die. 5. much . . . straight  much honor in it that you will kill me immediately.

Lucilius. Only I yield to die.4 There is so much that thou wilt kill me straight;5 Kill Brutus, and be honored in his death. 15

First Soldier. We must not. A noble prisoner!

[Enter Antony.] Second Soldier. Room, ho! Tell Antony, Brutus is ta’en. First Soldier. I’ll tell thee news. Here comes the general. Brutus is ta’en, Brutus is ta’en, my lord. Antony. Where is he? 20

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6. like himself  behaving in a noble way. 7. unto  in. 8. How everything is chanced  how everything has turned out; what has happened.

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Lucilius. Safe, Antony; Brutus is safe enough. I dare assure thee that no enemy Shall ever take alive the noble Brutus. The gods defend him from so great a shame! When you do find him, or alive or dead, He will be found like Brutus, like himself.6 Antony. This is not Brutus, friend, but, I assure you, A prize no less in worth. Keep this man safe; Give him all kindness. I had rather have Such men my friends than enemies. Go on, And see whe’r Brutus be alive or dead, And bring us word unto7 Octavius’ tent How everything is chanced.8 [Exit]

Scene v. The field of battle. [Enter Brutus, Dardanius, Clitus, Strato, and Volumnius.] Brutus. Come, poor remains1 of friends, rest on this rock.

1. poor remains  pitiful survivors. 2. showed the torchlight   signaled with a torch.

Clitus. Statilius showed the torchlight,2 but, my lord, He came not back; he is or ta’en or slain. 5

Brutus. Sit thee down, Clitus. Slaying is the word; It is a deed in fashion. Hark thee, Clitus. [Whispers] Clitus. What, I, my lord? No, not for all the world! Brutus. Peace then, no words. Clitus.

I’ll rather kill myself.

Brutus. Hark thee, Dardanius. [Whispers]

650  UNIT 4  •  To what extent does experience determine what we perceive?

Dardanius.

Shall I do such a deed?

Clitus. O Dardanius! 10

◀ Vocabulary meditates (med» ß tàts«)

Dardanius. O Clitus! Clitus. What ill request did Brutus make to thee? Dardanius. To kill him, Clitus. Look, he meditates. Clitus. Now is that noble vessel3 full of grief, That it runs over even at his eyes.

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5. several  separate.

Brutus. Why, this, Volumnius: The ghost of Caesar hath appeared to me Two several5 times by night; at Sardis once, And this last night here in Philippi fields. I know my hour is come. Volumnius.

Not so, my lord.

Brutus. Nay, I am sure it is, Volumnius. Thou seest the world, Volumnius, how it goes; Our enemies have beat us to the pit.6 [Low calls to arms] 25

It is more worthy to leap in ourselves Than tarry till they push us.7 Good Volumnius, Thou know’st that we two went to school together; Even for that our love of old, I prithee8 Hold thou my sword-hilts whilst I run on it. Volumnius. That’s not an office9 for a friend, my lord. [Call to arms still10]

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3. vessel  container of liquid; here, a metaphor for Brutus. 4. list  hear.

Brutus. Come hither, good Volumnius; list4 a word. Volumnius. What says my lord?

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v.  thinks deeply

Clitus. Fly, fly, my lord, there is no tarrying here. Brutus. Farewell to you; and you; and you, Volumnius. Strato, thou hast been all this while asleep; Farewell to thee too, Strato. Countrymen, My heart doth joy that yet in all my life I found no man but he was true to me. I shall have glory by this losing day More than Octavius and Mark Antony By this vile conquest shall attain unto.11 So fare you well at once, for Brutus’ tongue Hath almost ended his life’s history.

Tragic Heroes Why does this scene of Brutus weeping add complexity or depth to his character?

6. pit  trap or grave. 7. tarry . . . us  wait until they kill us. 8. prithee (priª » è)  interjection  ask you, please; “pray thee.” 9. office  task. 10. still  continuing.

Tragic Heroes What tragic flaw in Brutus is revealed in lines 33–35? 11. By this . . . unto  by this evil victory shall gain. (Brutus sees the victory of Octavius and Antony as causing the downfall of Roman freedom.)

Comprehension What does Brutus ask of his servants?

PART 2  •  The Tragedy of Julius Caesar, Act V, Scene v  651

Night hangs upon mine eyes; my bones would rest, That have but labored to attain this hour.12

12. this hour  time of death.

[Call to arms sounds. Cry within, “Fly, fly, fly!”] Clitus. Fly, my lord, fly! Brutus.

Hence! I will follow. [Exit Clitus, Dardanius, and Volumnius.]

13. respect  reputation. 14. smatch  smack or taste. 45

Compare and Contrast Characters What do the differences in the way in which Brutus and Cassius meet death show about their characters?

I prithee, Strato, stay thou by thy lord, Thou art a fellow of a good respect.13 Thy life hath had some smatch14 of honor in it; Hold then my sword, and turn away thy face, While I do run upon it. Wilt thou, Strato? Strato. Give me your hand first. Fare you well, my lord.

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Brutus. Farewell, good Strato—Caesar, now be still; I killed not thee with half so good a will. [Dies]

[Call to arms sounds. Retreat sounds. Enter Antony, Octavius, Messala, Lucilius, and the Army.] Octavius. What man is that? 15. man  servant. 16. Brutus only overcame himself  only Brutus, no one else, defeated Brutus. 17. no man else hath honor  no other man gains honor. 18. Lucilius’ saying  See Act V, Scene iv, lines  21–22. 19. entertain them  take them into my service. 20. bestow  spend. 21. prefer  recommend.

Messala. My master’s man.15 Strato, where is thy master? 55

Strato. Free from the bondage you are in, Messala; The conquerors can but make a fire of him For Brutus only overcame himself,16 And no man else hath honor17 by his death. Lucilius. So Brutus should be found. I thank thee, Brutus, That thou hast proved Lucilius’ saying18 true.

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Octavius. All that served Brutus, I will entertain them.19 Fellow, wilt thou bestow20 thy time with me? Strato. Ay, if Messala will prefer21 me to you. Octavius. Do so, good Messala. Messala. How died my master, Strato?

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Strato. I held the sword, and he did run on it. Messala. Octavius, then take him to follow thee, That did the latest service to my master.

22. save  except. 23. that  what.

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Antony. This was the noblest Roman of them all. All the conspirators save22 only he Did that23 they did in envy of great Caesar;

652  UNIT 4  •  To what extent does experience determine what we perceive?

▲ Critical Viewing

Which details in this film still suggest the respect that Octavius and Antony have for Brutus, even in defeat? PART 2  •  The Tragedy of Julius Caesar, Act V, Scene v  653

24. only in a general honest thought  with only publicminded motives. 25. made one of them   became one of the conspirators. 26. gentle  noble. 27. So mixed  well balanced. 28. virtue  excellence. 29. use  treat. 30. ordered honorably   treated with honor. 31. field  army. 32. part  share.

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He, only in a general honest thought24 And common good to all, made one of them.25 His life was gentle,26 and the elements So mixed27 in him that Nature might stand up And say to all the world, “This was a man!” Octavius. According to his virtue,28 let us use29 him With all respect and rites of burial. Within my tent his bones tonight shall lie, Most like a soldier ordered honorably.30 So call the field31 to rest, and let’s away To part32 the glories of this happy day.

[Exit all.]

Language Study Vocabulary The words listed below appear in The Tragedy of Julius Caesar, Act V. Use one word from the list to write a complete sentence about each numbered item that follows. fawned   presage   demeanor   disconsolate   meditates 1. being too eager to please 2. losing a friend 3. watching the sun set 4. hearing distant thunder 5. making a good impression WORD STUDY

Word Study

The Latin root -stru- means “pile up” or “build.” In the play, a scene on the battlefield is misconstrued. It’s meaning is built up or interpreted incorrectly.

Part A Explain how the Latin root -stru- contributes to the meanings of the words construction, instruct, and structural. Consult a dictionary if necessary. Part B Use the context of the sentences and what you know about the Latin root -stru- to explain your answer to each question. 1. If someone obstructs a doorway, is he or she allowing you to pass through it? 2. If a mathematician breaks a challenging code, has he or she construed its meaning?

654  UNIT 4  •  To what extent does experience determine what we perceive?

The Tragedy of Julius Caesar, Act V

Close Reading Activities Act V

Literary Analysis Key Ideas and Details 1. (a) In Act V, Scene i, lines 100–118, what action does Brutus say he will refuse to take and what situation will he not permit? (b) Interpret: What explanation does Brutus give for his position? Explain. (c) Draw Conclusions: What do Brutus’ statements suggest about his beliefs and values? Explain.

William Shakespeare

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2. (a) What does Cassius believe has happened to Titinius when Titinius rides to his tents? (b) Analyze Cause and Effect: What does Cassius’ interpretation of events lead him to do? (c) Connect: How is this reaction similar to Cassius’ reaction in Act I when there are signs that Caesar would become king? Explain. 3. Compare and Contrast Characters (a) Compare and contrast Cassius and Brutus. (b) Find an example from the text to show that Shakespeare sets Cassius and Brutus as foils for each other. (c) What do the differences between the two men emphasize about Brutus’ character? Explain, citing details from the play that support your response.

Craft and Structure 4. Tragic Heroes (a) Using a chart like the one shown, identify details in the play that show how both Brutus and Caesar display the qualities of traditional tragic heroes. (b) Based on your analysis, state which character you believe is the true tragic hero of this play. Explain your position, supporting your answer with details from the text. 5. Tragic Heroes (a) What does Brutus mean when he says, “My heart doth joy that yet in all my life / I found no man but he was true to me”? (b) Do these lines express a positive attitude or a blindness about human nature? Explain. Support your explanation with details from the drama.

Noble Birth

Suffers Catastrophe

Tragic Flaw

Integration of Knowledge and Ideas 6. (a) Throughout most of the play, how does Antony feel about Brutus? (b) Make Inferences: Which lines help you infer that Antony’s attitude toward Brutus changes at the end of the play? Explain your choices. 7.

To what extent does experience determine what we perceive? (a) Give two examples of situations in which Brutus expects others to act honorably and they fail to do so. (b) What is the outcome of each situation? (c) What do these situations suggest about Brutus’ view of himself and the world?

ACADEMIC VOCABULARY As you write and speak about The Tragedy of Julius Caesar, use the words related to experience and perceptions that you explored on page 517 of this book.

PART 2  •  Close Reading Activities  655